Dissertations / Theses on the topic 'Temporality'
To see the other types of publications on this topic, follow the link: Temporality.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Temporality.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Cioe, Anthony. "Objects: Entropy and Temporality." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1602.
Full textAbstract:
The transparent qualities of glass lend to the creation of elements that suggest presence and absence. I often use glass as a surrogate for lost time or space in an object, comparable to the human prosthetic and the notion of a phantom limb. Recent objects of exploration have included broken bottles, fallen tree limbs, and a human skull. The practical knowledge I gained while working in a conservation lab has directly influenced the methodology for treating these objects of disrepair. My primary impetus is a desire to construct what has been lost during an objects existence and reveal sublime qualities. Looking for the spaces in-between things, I create sculpture and installations that transcend static objects beyond their corporeal existence, engage in the process of entropy, and negate it.
2
Munch, Damien. "Un modèle dynamique et parcimonieux du traitement automatisé de l'aspect dans les langues naturelles." Thesis, Paris, ENST, 2013. http://www.theses.fr/2013ENST0058/document.
Full textAbstract:
Dans cette thèse nous avons cherché et développé un modèle du traitement de l'aspect dans les langues naturelles. Notre objectif a été d'élaborer un modèle détaillé et explicatif qui montre la possibilité de traiter l'aspect sur un nombre choisi d’énoncés tout en suivant des contraintes fortes de parcimonie et de plausibilité cognitive. Nous avons réussi à mettre au point un modèle original dans sa réalisation, mais aussi dans ses résultats : des explications nouvelles sont données pour le traitement d'interprétations comme la répétition, la perfectivité ou l'inchoativité ; tout en dévoilant un phénomène original dit de "prédication"The purpose of this work is to design and to implement a computational model for the processing of aspect in natural language.Our goal is to elaborate a detailed and explicative model of aspect. This model should be able to process aspect on a chosen number of sentences, while following strong constraints of parsimony and cognitive plausibility. We were successful in creating such a model, with both an original design and an extensive explanatory power. New explanations have been obtained for phenomena like repetition, perfectivity and inchoativity. We also propose a new mechanism based on the notion of “predication”
3
Krampell, Martin. "About time : Temporality in interaction." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-108353.
Full textAbstract:
Ever since the inception of the modern computer, researchers and designers alike have been interested in the effects of system delays on users. The current study was conducted in order to examine the most central issues to the field of temporality in interaction, and presents a consolidation of a selection of publications on the subject. A distinction between two types of interactive systems, discretionary and continuous, is proposed in order to situate previous studies by the system being studied. The type of control being exerted by users differs on a fundamental level between the two types, hence affecting the effects of delays. Furthermore, an experiment was conducted to examine the effects of constant, sub-second system delays in discretionary tasks using a digitalised version of the Trail Making Test (FR-TMT, Summala et al., 2008). The experiment yielded but one significant result in form of an improvement in user response time as delays were increased. The other results showed no significant positive or negative effect of increased delays. These results are indicative that the chosen delays do not have any detrimental effects on users, in accordance with the presently coined ’theory of task interruption’. This theory considers delays as either interruptive or non-interruptive and maintains that only delays that disrupt user work-flow are to be removed from interactive systems. The current study gives reason to why some delays can be positive to user interaction, or in themselves be informative of system status, and be an integral part of a feedback structure. Further research is needed before all aspects of system delays are fully understood. New ways of looking at delays and using them in system design, like predictability and predictivity, are becoming more prevalent, and may become the focus of research and temporal design in the near future.
4
Adlington, Robert. "Temporality in post-tonal music." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320419.
Full text
5
Kelt, Jonathan Mark. "Material culture, temporality and meaning." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625057.
Full text
6
Ong, Chin Wei. "The temporality of narcissistic leadership." Thesis, Bangor University, 2015. https://research.bangor.ac.uk/portal/en/theses/the-temporality-of-narcissistic-leadership(c6ee925f-f70a-4ccf-8120-2fcdcbf57a06).html.
Full textAbstract:
Narcissists possess an inflated, overly-positive self-view, which they maintain and boost by taking advantage of opportunities for self-enhancement. Leadership is viewed by narcissists as a viable means towards achieving self-enhancement, which gives rise to their leader emergent tendencies. However, the characteristics of their personality suggest that their leadership qualities will decrease over time, although no evidence has previously existed supporting this hypothesised effect. The present thesis provides the first empirical evidence to support the theorised temporal pattern of narcissistic leadership - characterised by initial favourable follower perceptions that wane over time. Additionally, we explored the mechanisms that explain the temporal pattern of perceptions towards narcissistic leadership, specifically transformational leadership and evolutionary strategies towards gaining social status: prestige and dominance. Chapter 1 introduces the relevant aspects of narcissism, leadership and evolutionary psychology, setting the scene for the thesis and presenting the questions pertaining to the temporality of narcissistic leadership that are examined in the subsequent empirical chapters. Chapter 2 (Pilot Study) examines the temporality of narcissistic leadership and the visionary component of transformational leadership through two hypothetical temporal scenarios. The results provide preliminary evidence that narcissistic leadership is perceived favourably for a short duration but not for a long duration, and also suggest that inspirational motivation, a visionary component of transformational leadership, mediates the perceptions of narcissists as effective leaders in the short-term but not over the long-term. In Chapter 3 (Studies 1 and 2), we describe two longitudinal round-robin studies, utilising group members with varying levels of acquaintance, that provide the first empirical evidence that the temporality of narcissistic leadership is characterised by initial positive follower perceptions that wane over time. We also demonstrate that transformational leadership mediates the relationship between narcissism and leadership early on but not later, suggesting that follower perceptions of narcissistic leaders across time is dependent on narcissistic leaders’ demonstration of appropriate transformational leadership behaviours. Chapter 4 (Study 3) provides an evolutionary perspective on the temporality of narcissistic leadership. Utilising a longitudinal, round-robin experimental design similar to the studies in Chapter 3, the results confirm that narcissistic leaders are perceived favourably by followers initially but not over time. Additionally, both evolutionary strategies to gaining social status - prestige and dominance - explain narcissists’ initial success as leaders. However, immediately after leader emergence, only dominance is effective in helping narcissists remain as favourable leaders, but the beneficial effects of dominance dissipate over time. In Chapter 5, we present a summary of the thesis; the theoretical and applied implications of these findings; strengths and limitations of the thesis; as well as future research directions. The findings from this thesis provide the first empirical evidence that narcissists are likely to be favourably perceived as leaders, but only in the short-term. This honeymoon effect of narcissistic leadership is characterised by narcissists’ initial success in exhibiting transformational leader behaviours, and their subsequent failure to demonstrate appropriate transformational leader behaviours over time. From an evolutionary perspective, both dominance and prestigious strategies explain followers’ initial positive perceptions of narcissists as leaders. However, dominance strategies seem to allow narcissistic leaders to enjoy that honeymoon effect for a longer period than prestigious strategies. Nevertheless, persisting with dominance strategies over prestigious strategies beyond the initial phase of leadership culminates in the curtailment of followers’ perceptions of narcissistic leaders.
7
Scannell, John School of Media Film & Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.
Full textAbstract:
This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.
8
Goralwalla, Iqbal A. "Temporality in object database management systems." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ29042.pdf.
Full text
9
Goldfajn, Tal. "Temporality and the Biblical Hebrew verb." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359682.
Full text
10
Zammit, Clive. "Witnessing : ethics and temporality after Heidegger." Thesis, University of Essex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428897.
Full text
11
Buhre, Frida. "Speaking the Anachronisms : Arendt, Politics, Temporality." Licentiate thesis, Uppsala universitet, Avdelningen för retorik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-271591.
Full text
12
Sunderland, John Samuel. "In flux : land, photography and temporality." Thesis, University of Northampton, 2015. http://nectar.northampton.ac.uk/9735/.
Full textAbstract:
This thesis accompanies a practice as research doctoral project that investigates the perceptual mechanisms and conceptions of land as a site of constant change. It utilises photographic practice as a form of visual communication. The aim is to examine the roles of movement and memory in the perceptual experiences of the environment through a phenomenological framework that involves the consideration of the concepts of place and space from a temporal perspective. The principal theme is how the moving and changing environment can be interpreted through the stasis of photography and what this implies about the individual’s relationship to it. The research methodology is a Rhizomatic multi‐site and multi‐process approach, utilising various methods and investigating site types appropriately as an interwoven practice. This has resulted in five separate bodies of work that deal with different forms of movement. The work employs close range photogrammetry techniques liberated from the empirical traditions of archaeological photography and time‐lapse to investigate the human‐scaled aerial view and visually interpret embodiment in the environment. An exhibition, titled Continuum derived from this practice was also shown at Avenue Gallery, Northampton University, UK, from 27th October 2014 ‐ 7th November 2014. A catalogue of works, titled In Flux; Land, Photography and Temporality accompanies this thesis as a PDF on the disc provided (appendix # 1). The research concludes that a consideration of time and space as durational and flowing can be interpreted through the stasis of photography. Through this the changing nature of the environment can be investigated. This is achieved by extending the duration of photographic processes and making them evident in the resulting works. It is also enhanced through curatorial sequencing in a body of work that mimics environmental temporal experience as perceived by the mobile individual.
13
Olcay, Taner. "Expressing Temporality In Graphical User Interface." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23102.
Full textAbstract:
Temporality has been given attention in HCI research, with scholars arguing that temporal aspects in function-oriented graphical user interface are overlooked. However, these works have not adequately addressed practical approaches to manifest time in the design of such. This paper presents an approach for implementing temporal metaphors in the design of graphical user interface. In this design research, I materialize temporal metaphors into material qualities, in order to manifest time into the design of graphical user interface and shape the experiences of such designs. I argue that the design of temporal metaphors may express traces of time in graphical user interface differently from contemporary designs. I discuss implications and significance of unfolding experience over time. In conclusion, this design research, by articulating the experiences of its design works, sheds new light on the meanings of expressing temporal metaphors in the design of graphical user interface.
14
Brown, Christopher E. "Writing Time: Dante, Petrarch, and Temporality." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845461.
Full textAbstract:
Trecento Italy, the century of Dante and Petrarch as well as the mechanical clock, represented a pivotal moment of innovation to formal measures of time. These creative expressions reflected transforming notions of ingenuity, and of man’s ability to shape the world and time in which he lived. While the mythic awakening of the self-conscious individual in Renaissance Italy has been largely demystified, criticism has tended to overlook the concurrent shifts to the Trecento temporal imagination, born of parallel practices that sought to recover cosmogonic secrets, and thus power over time. An intriguing conceptual connection lies in the multifaceted ingegno (and its Latin ancestor, ingenium), not merely a faculty or talent but a touch of the divine within, the dynamic enactment of which impels movement in, and beyond, time. Privileging the exceptional ingegno of Trecento to Quattrocento Italy, my dissertation engages in a three-part investigation of its manifestations, which evoke temporal tensions in the dialectic between particular and universal, finite ontology and pure existential being. Part one re-examines the mechanical clock, both a symbol and instrument, and its complex relation to bells in Trecento Florence. Informed by these symbols, part two, turning to poetic ingegno, conducts close readings of Dante’s Commedia and Petrarch’s Canzoniere — granting particular attention to the orologio of Paradiso 10, and the circularity of sestina 30, “Giovene donna sotto un verde lauro,” each emblematic of the manner in which the poets reconstitute time. Finally, part three considers the centrality of the human “maker” in the time matrix of Quattrocento Florence, juxtaposing the strategies of Lorenzo de’ Medici and Girolamo Savonarola to maximize, and transcend, finite time. This multidimensional approach not only excavates a more complete image of time in Renaissance Italy, but also reimagines the progression from Dante to Petrarch, and Petrarch to Italian poetry thereafter. The examination, I suggest, illuminates a paradoxical legacy: on one hand, in the glorification of man’s creativity; and on the other, in the existential anxiety of the time-conscious individual, endemic to modern chronophobia. The increasingly abstracted and self-referential time bespeaks a conspicuous absence of the sacred center, anticipating the transience that has plagued modernity.Romance Languages and Literatures
15
McGregor, Vivien Margaret. "Trans Temporality: Narrative, History, and Time." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12346.
Full textAbstract:
This thesis offers a new interpretative model for reading contemporary trans narratives. The overarching argument is that trans life narratives are complex, contradictory, and often resistant to discursive productions of identity, and these forms of resistance can best be understood through the rubric of queer temporality. Trans(sexual/gender) life narratives form an important part of trans subjectivity. Identities that fall outside of heteronormative understandings of the causal relation between sex and gender (and sex and/or gender’s stability over time) are subject to close scrutiny, interrogation, and suspicion within medical, legal, social, and literary contexts. In order to be ‘read’ as authentic, trans subjects must present a life narrative that ‘makes sense’ according to the discursive constructions of (trans)subjectivity already in place: concretized by medical discourse and circulating in the social field. The narratives examined here represent a collection of fictional works and experimental autobiographies that all seek to challenge normative constructions of what it means to cross-identify or transition. The texts discussed in this thesis all share a common strategy for dismantling normative constructions of identity. Rather than challenging sex-gender norms per se, these texts queer time: they distort, challenge, and complicate standardized constructions of temporality, narrative, and history. This thesis argues that self-representations that complicate the temporal order of standard autobiography—of personal history— evoke alternative forms of familial, national and communal history shaped by the queering of time and narrative. These histories, whether personal, genealogical, or national, are represented as non-linear, porous, and open to a multidirectional haunting. In reading trans narratives through the interpretative lens of queer temporality, this thesis aims to reinvigorate ‘queer’ for trans studies, and emphasize the centrality of trans for queer theory’s interest in non-normative time and history.
16
Rauen, Verena. "La temporalité du pardon. Les apories du discours sur l’effacement de culpabilité et l’impardonnable dans la philosophie du 20ème siècle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040093.
Full textAbstract:
En se démarquant de la signification traditionnelle du concept de pardon – i.e. « actionmorale » – cette thèse appréhende le pardon en tant que source du temps éthique.Comme renonciation à l'effacement (Tilgung) de la culpabilité, la notion du pardondépasse les schémas conceptuels du discours phénoménologique sur le don. Signifiantune abstention du jugement moral, son sens est davantage celui de l'étymologie destermes allemands Verzeihen (pardon) et Verzicht (renonciation), et se distinguenotamment de la réconciliation synthétique. La difficulté d'une telle approche tient à lanécessité d'une reformulation du concept de temps : alors que le temps de la culpabilitérelève de la structure économique et chronologique de la succession continue des unitésde temps, le pardon temporalise l'intervention éthique en interrompant cet enchaînementcausal. Ainsi, il rend possible des actions éthiques originales et indépendantes d'uneculpabilité précédente.Il s'agit alors de repenser la temporalité du pardon à travers trois figures temporellesreconstruites à partir des auteurs suivants: 1. la critique du concept d’anticipation (F. Nietzsche) et le mouvement conceptuelde l’anticipation au sursis (H. Cohen, W. Benjamin)2. l’instant de l'indécision (M. Heidegger) et l’événement (V. Jankélévitch, J.Derrida)3. la simultanéité de la répétition et de l’altérité comme recommencement (E.Levinas)Enfin, cette recherche sur la temporalité du pardon révélera la difficulté d'unerenonciation au pardon en tant qu’action morale. Elle exigera une redéfinition du vivreensemble au-delà de l'exigence des jugements moraux et de la réconciliationsynthétiqueDeparting from the traditional conception of forgiveness as moral action, this thesisconceives of forgiveness as a renunciation of the effacement of guilt and thus as thesource of ethical time.The idea of forgiveness as renunciation exceeds the conceptual schemes of thephenomenological discourse concerning the gift. Based on the etymology of theGerman words Verzeihen (“forgiveness”) and Verzicht (“renunciation”), forgiveness isdistinguished from synthetic reconciliation; it involves an abstention from moraljudgements. The challenge posed by this approach is the need to formulate a newconcept of time. The time of guilt and punishment is economic and chronological,structured as a linear succession of quantifiable units. Forgiveness, in contrast, can beseen as an ethical intervention within the structural unfolding of this causal chain,making it the prerequisite for original ethical acts that are independent from previousguilt.Therefore, this study examines the temporality of forgiveness, identifying three differenttemporal models based on works by the following authors: 1. the criticism of the concept of anticipation (F. Nietzsche) and the shift fromanticipation to postponement (H. Cohen, W. Benjamin);2. the instant of indecision (M. Heidegger) and the event (V. Jankélévitch, J.Derrida);3. the simultaneity of repetition and alterity, i.e. recommencement (E. Levinas).Finally, this study of the temporality of forgiveness leads to the challenge of renouncingforgiveness as a moral act. It necessitates a redefinition of living together asindependent of moral judgments and synthetic reconciliation
17
Lee, Chris Y. J. 1972. "Timely/timeless : temporality and perpetuity in architecture." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/68352.
Full textAbstract:
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.Rotch Library copy is a photocopy of the original and does not have col. ill.
Includes bibliographical references (leaf 62).
In modern consumer culture where history and tradition are mere footnotes to the insatiable obsession for instant gratification, much of today's architecture profession has maintained its philosophy around past glory and heroism. Many of us continue to approach architecture with the conviction for the enduring qualities of our craft while dismissing the ephemeral but most valuable attributes emanating from the popular trends. At a time when even the "avant-garde" -- once symbolizing the revolutionary social and economic efforts through art -- has come to mean cozy peddling of the exclusive few's whims, a non-exhaustive sequence of momentary trends is all that is left to inform the architecture for the rest of us. I propose architecture that can be more culturally relevant and less hypocritical about its connection to that same culture. I have designed an entertainment center for a television station to illustrate this thesis.
by Chris Y.J. Lee.
M.Arch.
18
Sengupta, Ranabir. "Perception of old towns, historicism, and temporality." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/79943.
Full textAbstract:
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 155-162).
The crux of this inquiry deals with one of the qualities which have been attributed by architectural and urban design theorists to the old, traditional town - its overwhelming sense of visual unity. In this study, it is argued that this unity is somewhat of a perceptual aberration which might arise out of structuring the perceptions of the old town in terms of its common denominator of oldness. The all-pervading sense of age could, to a certain extent erase other irregularities, so that the old town may be cognized with a powerful sense of unity. The first part of the study plants this central issue within the larger context of architectural theories and practice. Certain aspects of the theories of Christopher Alexander and Aldo van Eyck which are contingent upon the issue of the old town are expounded. The issue is also linked with the widespread architectural movement in the eastern world to create a culturally and socially responsive architecture. An important corollary of this movement is the imagery of the old town. The second part of the study deals with a perceptual test conducted to gain some insight into how old buildings are perceived. Rome has been taken as a case for this inquiry. Finally, in the third part, attempts are made to explain the results of the test through phenomenological means. Certain notions of temporality which impinge upon the perception of the old town are briefly touched upon. The social and cultural intentions with which architects seek inspiration in such towns are also touched upon to gain a greater understanding of the central issue.
by Ranabir Sengupta.
M.S.
19
Sanlon, Peter Thomas. "Interiority, temporality & scripture in Augustine's preaching." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610354.
Full text
20
Davies, Sarah. "Temporality in addiction and counselling psychology practice." Thesis, City University London, 2014. http://openaccess.city.ac.uk/14786/.
Full textAbstract:
This mixed-methods study investigates psychological perspectives of time in a group of sixty-three individuals seeking help for alcohol/drug issues and who successfully completed a residential addiction treatment intervention. Measures of subjective time perspective (TP) were taken before and after treatment using a quantitative scale (short-form ZTPI) and a qualitative component to capture additional phenomenological experiences of time. Measures of depression and anxiety were also taken pre and post treatment. Overall significant positive associations were found between time perspectives, in particular past-negative, present-fatalism and present-hedonistic time orientations and depression and anxiety. Significant negative relationships were also found between mental health and past-positive and future time perspectives. Distinct changes were reported in temporality between pre and post measures of the addiction treatment intervention from both quantitative and qualitative perspectives. Associations were again made with more positive mental health at the post-treatment phase. The potential use and implications of findings for understanding addiction and considering psychotherapeutic treatment is discussed.
21
Katsuragi, Camille. "Condition of Singularity Viewer, Temporality and Otherness." Thesis, University of the Arts London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650321.
Full text
22
Bateman, Debra. "Transforming teachers' temporality: Tutures in curriculum practices." Thesis, Australian Catholic University, 2009. https://acuresearchbank.acu.edu.au/download/6884ea9fa652a3c57749c9940960f2aa6dd5a65105ac8fe544f609abeb76b3f6/5610177/64792_downloaded_stream_17.pdf.
Full textAbstract:
There is much rhetoric around the notion that schools educate for the future. This research is an interrogation of the ways in which explicit futures time perspectives exists within school practices. This study investigates the ways in which these perspectives appear within curriculum documents and do/do not influence the ways that teachers think about, and plan for, student learning. Moreover, through ongoing and supported professional learning, this research identifies the ways in which teacher practice and student learning is transformed through increased temporal consciousness. This study has sought to identify and examine the ways in which futures and temporality influence schools and school curricula and the ways in which schools and school curricula influence teachers' perceptions and enactment of futures and temporality. It was framed within the contexts of: Invisible fields of study within mainstream educational practices: futures education and futures studies; Psychological understandings about how human capacities of temporality and time perspectives develop; Curriculum documents which demonstrate temporal bias in the ways they are traditionally oriented towards the past, yet simultaneously claim a role in educating for the future; A school with a time machine which did not go to the future (Wooranna Park Primary School). This research is based on an individual case study undertaken at Wooranna Park Primary School, Dandenong North, Victoria, Australia. It incorporates the perspectives and experiences of six teachers situated within the Grade 5/6 Autonomous Learning Unit [ALU]. In this study, the participant action researcher facilitated two types of targeted professional learning to increase the teachers' futures consciousness and understandings of how futures studies could occur within a learning environment.;In the first instance, through directed Professional Development [PD] the teachers were introduced to the field of futures studies. Through this PD they participated in focused activities intended to raise their futures consciousness and in turn their capacity to reflect upon their teaching through these increased futures perspectives. In the second instance, the teachers participated as a professional learning team [PLT]. With ongoing support, as a PLT the teachers collaboratively planned and reflected upon what occurred as they enacted their futures learning within their classroom practices. They also participated in cyclical action research and evaluative interviews in identifying the ways in which futures time perspectives affected their curriculum practices. Analysis of the data in this research has been undertaken through analytic brackets which identified the ways teachers spoke about the future (discourse?in?action), in comparison with the ways in which they 'did' the future within their work (discursive practices). It is clear from this research that, prior to the commencement of this study, the teachers had given little thought to the ways in which they 'educate for the future'. Further, amongst the 25 key findings which have emerged from this research, there can be little doubt that the introduction of futures time perspectives within the classroom curriculum was transformative. This research suggests many directions for further research, much of which has not been undertaken previously. Most of the research previously undertaken in regard to futures education has been completed by people from outside the school environment noting what should be done. In contrast, this study draws upon practitioner as well as theoretical understandings in order to explore what can occur in educating for futures.
23
Yusoff, Norman. "Contemporary Malaysian Cinema: Genre, Gender and Temporality." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9925.
Full textAbstract:
This thesis provides close, contextualised readings of representations of gender and temporality in a number of contemporary, post-millennial genre films. The focus is on textual analysis of the films, placed within the contexts of their production and critical reception both within and outside Malaysia. This study lies at the intersections of scholarship on Malaysian cinema, film genre, and Asian gender and cultural studies. This thesis argues that the directors’ reworking of genres renders a more dynamic and hybrid nature of generic forms, reiterating certain conventions of old media and cinematic forms such as the culturally-specific mode of melodrama, and elements of magic and superstition. In doing so, they fall outside and question the assumed binary between realist and non-realist genres in US films based on generic regimes of verisimilitude. I further argue that this reworking of genres complicates the dominant notion of gendered subjectivities, which is contained within the binaries of Old Malay and New Malay, Malay and non-Malay, rural and urban, and professional and working-class. In all of the films I examine, such binaries, which have been spawned by the combined forces of the postcolonial capitalist state and resurgent Islam, are destabilised through diverse representations of time, narratively and aesthetically. In the process, they question and fracture the chronology of ‘homogeneous empty time’ that underlies the linear narrative of nation. For example, in romance and horror films, notions of ‘modern’ femininity are represented more ambivalently whereas in comedy and action films, anxieties about modernity are projected on marginalised forms of masculinity. The ultimate aim of this thesis is to reflect upon the ways in which the transformations of both genre and gender lead the films examined to critique contradictory aspects of modernity in postcolonial, contemporary Malaysia.
24
Edward, Mark. "Temporality of the performing body : movement, memory, mesearch." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/14361/.
Full textAbstract:
Exploring the intersections between my own embodiment and performance work, this thesis situates negotiations and renegotiations of embodiment as both experiential and as a subjective position that informs my creative practice. The examples of my creative research projects are detailed and discussed in light of the social and cultural critiques that relate to the themes of age (in)visibility, body size and self-study. Throughout, I investigate and advocate the benefits of conducting subjective based inquiry to inform practice-led work, and in exploring paradigms for autoethnographic explorations to be more accessible to those who engage with my practice. Starting from a position of reflection, where my performing body is seen as an archive of personal histories, memories, movements, techniques, as well as social and cultural phenomena, I mobilise the term ‘mesearch’ to disseminate the process of my creative inquiry. The mesearch position is discussed in light of each of the three creative research practice-led works. The benefits of a mesearch approach include the production of creative practice which is relational, ethical, rigorously self-aware and self-critical, innovative and even therapeutic. The implications of my practice, although it is introspective and entirely subjective, provide a platform for further practitioners who engage with self-inquiry to inform their creative outputs.
25
Meraz, Avila Fidel Alejandro. "Architecture and temporality in conservation philosophy : Cesare Brandi." Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10819/.
Full textAbstract:
In conservation of culturally significant architecture (CSA), awareness about problems of temporality and their consideration has been frequently approached with different perspectives. However, these partial explanations have usually focused on accounts of temporality that mainly approach the past and the present, and more rarely the future, but do not consider the complete spectrum of human temporality, nor explicit ontological bases. In this thesis, architecture emerges as a manifold being in constant becoming that compels human being to exercise permanently memory and assimilation. The main contribution is the proposal of an existential approach towards conservation as an intentionality grounded on the more fundamental attitudes of cultivation and care. Through epistemological and phenomenological analysis of Brandi’s thought – focusing on his paradigmatic Theory of Restoration – his attitude comes forth as a particular form of conservation intentionality limited to architecture as a work of art. Following mainly Ingarden and Ricoeur, the results of ontological and phenomenological investigations about architecture and temporality demonstrate conservation in its modern form as a limited temporal intentionality. After these theoretical pre-conditions, the existential approach applied on the previously deduced dimensions of the space and time of Dasein – in Heidegger’s terms – proved the grounding of conservation on an existential interpretation of the more fundamental notions of cultivation and care. Making an analogy with Ingarden’s notion of the architectural work of art, CSA is ontologically analysed emerging to consciousness as a manifold being that can be concretized in different ways according with the attitude of the receptor. After the phenomenological analysis of memory, architectural conservation in its modern form is demonstrated as a partial account of human temporality that can be overcome considering human inhabitation in a creative way. Partially supported on the obtained cases of remembered architecture, the hermeneutical approach concluded suggesting a solution for the impasse with an existential account of both, the artistic grounding of architecture and its characterisation as the place that temporally accompanies Dasein. Thus, architecture is ontologically demonstrated to have a manifold being in constant state of transformation that participates of an unavoidable humanised temporality, appearing as a less ambiguous object of conservation. Hence, architecture is existentially demonstrated as constituting the space for the authentically concerned human, whose temporal consciousness compels to cultivate and care about, enriching the possible approaches to conservation as a collective endeavour.
26
Powell, Helen Louise. "Stop the clocks : cinema, temporality and the narrative." Thesis, Birkbeck (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324622.
Full text
27
Gessi, Elena. "Temporality in the Divina Commedia of Dante Alighieri." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/69367/.
Full textAbstract:
My doctoral research analyses different aspects of temporality in the Divina Commedia of Dante Alighieri and it traces interactions between the levels of temporality, perpetuity and eternity. These relationships ought to have generated far more critical discussion than they have done thus far, concerning what Dante actually means by time, perpetuity and eternity. Overall, the scholarship on the general representation of time in the Divina Commedia is remarkably fragmentary and has yet to be synthesized into a comprehensive account. Thus, my research connects the three cantiche, Dante’s sources, the variety of different uses and representations of the figures of time within the poem, the poem’s astronomical figurations, and its scriptural and historical temporal perspectives. My project focuses on the main models and the taxonomies Dante engages with – these are the Augustinian, the Boethian and the Platonic. The research shows that the reiterations and transformations of these models are represented through figures, motions, rhythms and linguistic devices. Mostly, Dante presents us with hybrid figures, which have a sort of ‘patchwork’ nature. They might display biblical and classical features at the same time, revealing in this mixture the original voice of the author as poet and as compilator. My research indicates how Dante combines selected elements from different traditions in his attempt to provide the most comprehensive illustration of his conceptions, which themselves are hybrid and syncretic.
28
Luchte, James. "Makeshift : Heidegger and the phenomenology of original temporality." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341381.
Full text
29
Tallant, Jonathan C. "Temporal minimalism : the metaphysics of time and temporality." Thesis, Durham University, 2005. http://etheses.dur.ac.uk/1276/.
Full text
30
Toscano, Javier. "Rosenzweig: Temporality of Redemption as Theological-Political Principle." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/112943.
Full textAbstract:
This essay analyses the temporal structure that Rosenzweig develops mainly in his work The Star of Redemption in order to locate, on one hand, a messianic principle that organizes a specific theologico-political realm, and on the other, to understand the way in which certain terms from the judaic prophetic tradition are refunctionalized to activate in a concrete form a system of thought based on the premise of otherness.Este ensayo hace un análisis de la estructura de la temporalidad que Rosenzweig desarrolla sobre todo en su obra La estrella de la redención con el fin de ubicar, por una parte, un principio mesiánico con el que se organiza un ámbito teológico-político específico, y por otra, comprender la manera en que se refuncionalizan ciertos términos de la tradición profética judía para activar de manera concreta un sistema de pensamiento filosófico basado en la premisa de la otredad.
31
Hellström, Christina. "Subjective time and temporality in conditions of pain." : Göteborg University, 1998. http://catalog.hathitrust.org/api/volumes/oclc/39746061.html.
Full text
32
Seymour, Kristy Danialle. "Bodies, Temporality and Spatiality in Australian Contemporary Circus." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376861.
Full textAbstract:
Informed and impelled by my professional experience as a circus artist, this dissertation maps the practice features and cultural influence of contemporary circus in Australia, investigating its development and situating it in relation to alternative circus practice internationally. I undertake a conceptual discussion of the development of Australian contemporary circus and of its current features. This involves the discussion of the milieu it created and continues to create for itself, the “middle…from which it grows and which it overspills” (Deleuze and Guattari 1987); its many lines of flight as sub-genres, styles, companies, training and sustainability; and its ability to renew and extend itself through continual processes of deterritorialisation and reterritorialisation.
I explore the growth of the artform; its artistic processes; how spatiality has shaped contemporary circus, including the part played by certain 'circus cities' in industry development, and the relationships between performance venues and artistic processes; the national profile of contemporary circus and its major contribution to Australia’s international performing arts output. Simultaneously, I consider the performance of the contemporary circus body in space and time. I am interested in the diversity, multiplicities and “creative chaos” deployed by independent artists and major companies in the production of work, along with the nature and significance of embodiment, risk and trust in performance. This involves, for example, the influence of Chinese classical circus techniques in the training of Australian circus artists, as well as the impacts of feminist and queer ideologies and bodies on the practices of circus and the aesthetics of performance.
Methodologically, the thesis is grounded in approaches and opportunities consequent upon the lived experience of an insider researcher who has participated in the industry as an aerial performer, artistic director, company manager, trainer and colleague. The case studies of key companies, practices and sites of practice are therefore based in interviews with a cross-section of practitioners and other industry personnel who recognised the value of the research. Similarly, the project has been enriched by an insider’s access to scarce but invaluable archival material as well as publicly accessible media reviews.
Conceptually, I draw extensively on Deleuze and Guattari for ways of thinking processually about movement, rhythms, transformations, connectivity and potentiality in the artform, in relation to the bodies of performers, the spaces in which they perform and the contexts that they inhabit in terms of company structures, relations with Australian governments and other artforms, and in extensive international work. In addition to a range of scholars who have worked with and through Deleuze and Guattari in various ways, I make use of key insights from Foucault, Agamben, Butler, Grosz and Probyn. Utilising ideas and approaches that are allied, or at least aligned, in their modes of working with differences and complex relations, has helped me to fashion a discussion that I believe achieves coherence, given the large but potentially unwieldy array of primary and secondary material that informs it. This discussion is also facilitated throughout by a number of core observations regarding movements and interactions of bodies in spaces, for which I found particularly valuable perspectives in works by Peta Tait, Doreen Massey and Erin Manning. Taken together, these various conceptual strands and the ways of thinking that they model have enabled me to analyse how the success of Australian contemporary circus can be found in its ideological edginess, its emphatic physicality and extreme uses of the body, its challenges to “normal” notions of physical and spatial boundedness, and its particular ways of mixing chaotic and orderly processes which produce a sense of “authenticity in performance” for audiences.
While aspects of the artform have been discussed in scholarly work (e.g. Tait, 2005) this is the first comprehensive study of Australian contemporary circus, its national development, and its international influence as a leader in innovation. As well as suggesting some approaches to understanding and conceptualising the extraordinary appeal of the sector for its participants and its audiences, I grapple with why it continues to be largely unrecognised in Australian national and state funding processes. I suggest that more serious conceptual discussion of the sector in scholarly and industry contexts might contribute to it being taken seriously in its home country, as it is internationally.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
Full Text
33
Hamidi, Ghalehjegh Nima. "Visualizing temporality in music: music perception – feature extraction." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5770.
Full textAbstract:
Recently, there have been efforts to design more efficient ways to internalize music by applying the disciplines of cognition, psychology, temporality, aesthetics, and philosophy. Bringing together the fields of art and science, computational techniques can also be applied to musical analysis. Although a wide range of research projects have been conducted, the automatization of music analysis remains emergent. Importantly, patterns are revealed by using automated tools to analyze core musical elements created from melodies, harmonies, and rhythms, high-level features that are perceivable by the human ear. For music to be captured and successfully analyzed by a computer, however, one needs to extract certain information found in the lower-level features of amplitude, frequency, and duration. Moreover, while the identity of harmonic progressions, melodic contour, musical patterns, and pitch quantification are crucial factors in traditional music analysis, these alone are not exclusive. Visual representations are useful tools that reflect form and structure of non-conventional musical repertoire.
Because I regard the fluidity of music and visual shape as strongly interactive, the ultimate goal of this thesis is to construct a practical tool that prepares the visual material used for musical composition. By utilizing concepts of time, computation, and composition, this tool effectively integrates computer science, signal processing, and music perception. This will be obtained by presenting two concepts, one abstract and one mathematical, that will provide materials leading to the original composition. To extract the desired visualization, I propose a fully automated tool for musical analysis that is grounded in both the mid-level elements of loudness, density, and range, and low-level features of frequency and duration. As evidenced by my sinfonietta, Equilibrium, this tool, capable of rapidly analyzing a variety of musical examples such as instrumental repertoire, electro-acoustic music, improvisation and folk music, is highly beneficial to my proposed compositional procedure.
34
Clancy, Brian Thomas. "From Time to Totality| The Aesthetic Temporality of Objecthood." Thesis, University of California, Berkeley, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10687332.
Full textAbstract:
This dissertation constructs a philosophy of perception that creates what I call a “perceptive ontology of objects.” This ontology emphasizes, not the subjective perspectivalism of human identity, but the dynamic emergence of objects into objecthood through impersonal modalities of space, time, light, and sound. Objecthood is an attempt to render perceptive experience as something neither wholly subjective nor wholly objective. Here objects are connected with subjectivity and yet still external. I argue that modernist authors present changeable, novelistic surfaces, which submit the novel’s material objects to epistemological doubt. This creates radically interruptive moments of heightened perception, rupturing immediate experience from the more conventionally mimetic, referential, and social surfaces of the novel found within literary realism. These perceptive experiences create representational effects which I call “the mimesis of sensation.” This creates a sensory surface in the story world through which the reader aligns with the perceptive experiences of characters. This form of readerly connection is distinct from either Aristotelian empathy on the one hand, or Brechtian estrangement, on the other. “The moment,” a temporality distinct from the present, the modernist works of authors like Mallarmé, Woolf, Joyce, and Kafka foreground perception itself, altering visions of time to construct discrete and static temporalities. These discontinuous moments create forms of abstract continuity. They thus create a dialectical relationship with narrative.
These event-like ruptures, occurring through encounters with the surface of objects, offer two distinct notions of time that could serve as alternatives to the post-structuralist critique of the materiality of the signifier as seen in theorists like Derrida and Barthes. First, the surface of the text becomes an expansive medium of perception: a collection of perpetual gestures, interruptions, reflections, and possibilities which arises, not through linguistic play, but through a composite surface of language and perception. A totality emerges through perceptive processes in relation to this medium, not through the infinite deferral of the signified, but through the ongoing logical recession of the object through epistemological immanence. Here I also take an important departure from the work of other theorists of modernity—Baudelaire, Bergson, Benjamin, and Deleuze, and others—who suggest an imagistic immediacy to the experience of non-chronological time. My notion of the modernist literary object is distinctively not a ready-to-point-to image. I critique the centrality of images in 20th-century theories of temporality, arguing that modernism constructs moments of readerly critical alignment not through the satisfaction of visual desire, but by foregrounding processes of apprehension, perception, and inquiry: attempting to decipher an object which is never quite fully known.
Even as the modernist techniques I study draw attention to the artifice of representation and the difficulties of constructing knowledge, they also frame objects of perception, constructing scenes of aesthetic totality—available to the spectator so long as she acknowledges the mediated lens through which she looks. I see totality as the possibility that perception could be made whole, the possibility that there is a form of subjectless experience in which perceptive inquiry creates order (as forms of abstract continuity). These totalities, perceivable not in chronologies of external perceptible phenomena, but within impersonal faculties of apprehension, as they coincide with these forms of deeper time, also invoke pathos (through the acknowledgment of dimensions of fate). In four chapters, each devoted to a respective modernist author, the project shows how the works of Mallarmé, Woolf, Joyce, and Kafka reveal relationships between what I call modernism’s “moments” and the receding totality of the object.
Chapter 1 of the dissertation argues that a relationship exists between Mallarmé’s reception of impressionism and the poet’s linguistic theory. Here I examine Mallarmé’s writings on the impressionist plein air technique in his essay, “The Impressionists and Édouard Manet” (1876). Plein air means more for Mallarmé than just painting outdoors. Air, in Mallarmé’s eyes, is a full presence. Atmosphere is the key to a deep and abstract form of naturalism in his work. Other subjects in this chapter include atmospheric modalities like breath or respiration, speech and the sounds of words, or aspects of nature like weather. In Chapter 2, the novelistic objects of perceptive ontology in Woolfian impressionism create a temporal rupture from realism’s more conventional referential representation. I argue that Woolf creates another type of realism through her experiments with time. Importantly, I break from the work of 20th-century continental theorists of radical time influenced by Bergson (like Deleuze) in which the image plays a central, functional role. Woolf’s moments challenge the idea of a Bergsonian image-form not subject to doubt in order to open the imaginative field of literature to what I call “the mimesis of sensation.” (Abstract shortened by ProQuest.)
35
Jarvis, Lee. "Times of terror : discourse and the politics of temporality." Thesis, University of Birmingham, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521984.
Full textAbstract:
My thesis provides a deconstructive reading of eight key narratives of temporality that emerged within the first fifteen months of the George W. Bush administration's ongoing `War on Terror'. Through a sustained empirical investigation into over five hundred documents produced by key representatives of the White House, Department of State, Department of Defense, Department of Justice, and Office/Department of Homeland Security, my research offers three contributions to existing knowledge. First, by charting and exploring the administration's framings of temporality, my thesis adds an additional layer of empirical depth and conceptual sophistication to existing critical discussions of this political discourse. Second, by tracing the politicodiscursive implications performed by the eight narratives I explore, my research demonstrates the productivity and power of temporality as a key structural and legitimatory resource within this `war'. And, third, by juxtaposing the three heterogeneous temporal shapes employed by the Bush administration against one another, my thesis provides an interventionary critique of this `war's' ostensibly objective, referential framing.
36
曾昭楹 and Chiu-ying Venus Tsang. "Temporality in modernist literature: Ezra Pound and Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26822428.
Full text
37
ROSA, CARLOS MENDES. "AGING IN TIMES OF YOUTH: BODY IMAGE AND TEMPORALITY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26737@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE DOUTORADO SANDUÍCHE NO EXTERIOR
Este trabalho é uma reunião de artigos científicos – publicados, aceitos ou submetidos a periódicos indexados – sobre as particularidades do envelhecimento em homens e mulheres no atual contexto de nossa sociedade. Os artigos analisam as diferentes nuances da subjetividade dos idosos, enfocando questões como o desencontro entre o inconsciente atemporal e o corpo envelhecido, bem como os estereótipos e os rótulos que o imaginário social cria acerca do envelhecimento. Destaque é dado ao silenciamento e ao distanciamento em relação à velhice, especialmente no que toca aos temas da decrepitude, da morte e do trabalho de elaboração psíquica necessário para enfrentar essa última fase da vida.
This study is a collection of scientific papers – published, accepted or submitted to certified publications – on the particularities of the aging process in men and women in the current context of our society. The articles examine the different nuances of the subjectivity of the elderly, focusing on issues such as the disparity between the ageless unconsciousness and the aging body, as well as the stereotypes and labels that social consciousness creates concerning aging. The papers highlight the silencing and distancing of society from old age, especially from topics such as the decay of the body, the imminence of death and the psychic elaboration needed to face this last stage of life.
38
Washington, Corey Glenn. "Discourse interpretation and the temporality of states and events." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/105011.
Full textAbstract:
Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Linguistics and Philosophy, 1987.MICROFICHE COPY AVAILABLE IN ARCHIVES AND HUMANITIES.
Bibliography: leaves 196-197.
by Corey Glenn Washington.
M.S.
39
Walklate, Jennifer Anne. "Timescapes : the production of temporality in literature and museums." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/27954.
Full textAbstract:
Timescapes: The production of temporality in museums and literature seeks to partially resolve a significant gap in the literature concerning museums and time. Certain temporal qualities of museums, such as their roles as sites of memory and history, have indeed been explored, and their temporal oddities have been obliquely expressed by thinkers including Foucault. However, direct investigation of the temporal ontology of the museum is seriously lacking; the explorations above focus on the relationship between museums and the past, and certain Foucauldian descriptions of the temporality of museums have been taken on without being subjected to in depth, critical analysis. In order to counter this lack, this thesis aims to directly investigate temporal production by developing and deploying a new critical framework based on tools taken from the creation and analysis of literary works and concepts from academic literary theory, in a physical setting and written analysis. It asks how temporality is manipulated within museums and how that temporality, in turn, affects certain ontological characteristics of the constituents and interlocutors of those museums. As a result, it shows museum temporality to be manipulated and manipulative, paradoxically porous and bounded, and inherently relational, stemming from everything which constitutes a museum. Temporal investigation also reveals questions regarding the ontological and representational natures of museums; this thesis indicates the ways in which they represent others, how they approach, display and build relationships between themselves and their visitors, and something of their own ontological self-awareness. It suggests that cross fertilization between museum and literary studies could prove productive for both the analytical investigation and practical creation of museum spaces. Timescapes seeks to be a thesis powerfully conceptual, one able to highlight the philosophical and ethical dimensions of museums as media, and yet also be demonstrably, productively, of use in the physical, practical world.
40
Fisher-Høyrem, Stefan Tørnquist. "Time machines : technology, temporality, and the Victorian social imaginary." Thesis, Oxford Brookes University, 2012. http://radar.brookes.ac.uk/radar/items/eb70c917-81dc-fbd4-1ba8-4e36eb61b95a/1.
Full textAbstract:
Drawing on the conceptual framework developed by Charles Taylor in his A Secular Age (2007), this thesis seeks to recast the question of Victorian ‘secularization’ – a notion largely abandoned by historians. It does so by analysing the temporal dimension of three Victorian social imaginaries and their technological performance: railways and the establishment of a uniform national time; newspapers and the public sphere; and Bank of England paper notes and the integration of a national economy. It argues that in all three cases, a concept of secular time was actively invested and embedded on the level of the social imaginary and its material mediation. This allows historians again to speak of a process of secularization, albeit only on this particular level. However—and contrary to Taylor—the thesis argues that the temporal structure of Victorian modernity comprised two kinds of time at this very level, articulated together in a dialectic fashion: a secular time conceived as isochronic, abstract, and independent of motion; and a historical time conceived as pure qualitative duration. In this way, the thesis contributes towards the development of a genuinely postsecular paradigm for future research into the nature of Victorian modernity.
41
Wolpert, Daniel Jonas. "Temporality, identity and history in German cinema, 1946-1949." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/283967.
Full text
42
Mellor, Kate. "Do not refreeze : images of architecture and photographic temporality." Thesis, Ulster University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.694649.
Full textAbstract:
Platforms for discourse in architecture have been informed by standard patterns of architectural photography and yet critics have long found the configuration of temporality in professional practice problematic. The modernist paradigms that underpin standard depiction of buildings are thought to produce a narrative of architecture heroically withstanding the onslaughts of modernity yet they position buildings as dominant to the everyday, thus denying their corporeality. The thesis hinges on the idea that the image of architecture depends not only on temporal configuration in photographs but also on more general conceptualizations about temporality in the medium. The research project addresses this as an artistic dilemma, applying fine art methods to expand temporal configuration in photographs of buildings. These practical artistic experiments aim to find alternatives that extend the photographic image of architecture and discuss its relationship to, and role as essential element in, the landscape. As photographs have a didactic role in the educational and professional fields of architecture it therefore impacts on design leaving, at least theoretically, photographic traces on the landscape. Yet the powerful influence of standard architectural photography on the urban environment tends to remain under-‐ acknowledged. This interdisciplinary research project examines material from the fields of architecture, photography and urban theory to provide background on the depiction of architecture as photographic image with a view to discover how temporal configuration covertly upholds particular narratives of architecture. In general the dissemination of architectural photography tends to depend on photographs as technologically produced passive documents and this is supported by a conceptualization of photography, through its instant of exposure, as freezing time and space. The thesis argues that this is a modernist view of photography that supports a heroic, spectacular view of architecture but denies any sense of architecture as, say, dynamic space. Recent theoretical debate on reconceptions of photography since digitization put forward a less technocratic view. Experimentation facilitated by digital image-‐processing has also resulted in a reassessment of the medium’s relationship to time. Elements of these post-‐ digitization debates in photography are brought in to counter entrenched ideas about photographic temporality and to position architecture and photography in a more open, ongoing flow of time and less as iconic, frozen moment. Fine art photographic methods are employed to view architecture self-‐ reflexively, emphasizing the subjective, embodied presence and everyday encounter of the image-‐maker challenging the notion of photography as passive and unintentional and amplifying the medium as a durational process. While the artistic practice has been aided by digital image technologies it includes a mix of analogue, digital and hybridized work to explore photography’s changed relationship to time post-‐digitization. By making alternative images of buildings to demonstrate expanded temporalities in the medium of photography the thesis presents a discourse on the representational image of architecture and its potential impacts on the landscape.
43
Whittaker, Paul. "Temporality and failure in the work of Antoine Watteau." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445908.
Full text
44
Pensgard, David. "Existential temporality as fore-ignorance implications for divine foreknowledge /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
Full text
45
Shaffer, Allyson Kaye Grossberg Lawrence. "Producing procrastination negotiating affect and temporality in contemporary capitalism /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1935.
Full textAbstract:
Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Master of the Arts in the Department of Communication Studies." Discipline: Communication Studies; Department/School: Communication Studies.
46
Campbell, Timothy P. "Commercial temporality and modern historicism in Britain, 1745-1819." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3324508.
Full textAbstract:
Thesis (Ph.D.)--Indiana University, Dept. of English, 2008.Title from PDF t.p. (viewed on May 12, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3158. Adviser: Deidre Lynch.
47
Allogho, Mantwani Canissius. "De la mémoire au présent. Approche poético-herméneutique du roman francophone : lecture de l’œuvre romanesque de Kossi Efoui." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30016.
Full textAbstract:
Le présent travail explore les préfigurations et les configurations mémorielles, du moins les revenances comme un retour sur les profondeurs d'une anamnèse qui engage la réflexivité d'un sujet. Ce travail cherche à valoriser le potentiel herméneutique de la mémoire au présent. Il se désolidarise d'une vision strictement passéiste de l'acte mnésique pour emprunter les contours d'une mémoire toujours à venir. Car, s'il faut entendre le souvenir comme ce qui fait revenir le passé, il n'est pas certain que ce dernier appartienne exclusivement au passé. L'acte de la souvenance se produit dans une sorte de duplicité/dédoublement qui se traduit par le fait que quelqu'un puisse se souvenir à moment donné de quelque chose. Ce qui veut dire qu'il y a une présence du sujet à lui-même, une présence qui le manifeste et le met en route en direction du passé. Cette présence à soi est du ressort d'une temporalité spécifique. Il faut absolument qu'un temps se soit écoulé pour qu'on puisse s'en rappeler ici et maintenant. Le présent élabore la mémoire, s'emploie à son effectivité, c'est-à-dire à sa reconstruction. Ainsi, en insistant sur les constructions ontologiques et historiques, les considérations éthiques et politiques de la mémoire, notre réflexion sur la représentation du passé traite des rapports de la conscience subjective et/ou collective au temps, à l'histoire, au devenir. À cet égard, contre une certaine épistémè qui trop souvent définit la mémoire comme le miroir exclusif de l'expérience passée, cette recherche interroge le passé, non pas dans une percée nostalgique déterminante, mais plutôt dans une intention de légitimation du consentement de l'être à refuser la gangrène de la mort et l'usure du temps. Que l'individu se souvienne, clairement, confusément, sans effort, avec l'assurance et l'ivresse d'un bonheur ou le déplaisir d'une angoisse traversée par la honte et la mélancolie, il va sans dire que ce dernier n'a plus à choisir entre un devoir et un oubli de mémoire, entre passé et présent, entre un déjà-là et un-pas-encore-là. Se souvenir veut dire se rappeler pour dépasser le mal, pour changer de place, pour être vivant. De ce point de vue, la pratique poético-herméneutique de la mémoire au présent consiste précisément à comprendre l'existence et le devenir de l'être en situationThis work explores the foreshadowing and memory configurations, at least the revenances as a return to the depths of a history that engages the reflexivity of a subject. This work seeks to enhance the potential of hermeneutics memory to the present. It disengages a strictly backward-looking vision of the mnemonic act to borrow the outlines of memory still to come. For if it means the memory as making back the past, it is not certain that it belongs exclusively to the past. The act of remembrance occurs in a kind of duplicity / duplication resulting in the fact that someone can remember at some point something. This means that there is a presence of the subject himself, a presence that the manifesto and puts it off in the direction of the past. This self-presence is the responsibility of a specific temporality. It is imperative that a time has passed for us to remember here and now. This develops memory, works to its effectiveness, that is to say, its reconstruction. Thus, emphasizing the ontological and historical buildings, ethical and political considerations of memory, our thinking about the representation of the past deals with the relationship of subjective consciousness and / or collectively to time, to history, to become. In this regard, against some episteme that too often defines memory as the sole mirror of past experience, the research questions the past, not in a nostalgic decisive breakthrough, but rather an intention to legitimize the consent of the be denied gangrene of death and the passage of time. That the individual can remember, clearly, confusedly, without effort, with the assurance and the intoxication of happiness or displeasure of anxiety crossed by shame and melancholy, it goes without saying that it does has to choose between duty and memory forgetting, past and present, between an already-there-and not even then. Remember means remembering to overcome evil, to change places, to be alive. From this point of view, poetic-hermeneutic practice of this memory is precisely to understand the existence and fate of being in situation
48
Jeong, Boram. "Theory of subjectification in Gilles Deleuze : a study of the temporality in capitalism." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080165.
Full textAbstract:
L’argument central de cette thèse est que le capitalisme financier en tant qu’économie fondée sur la dette produit une subjectivité mélancolique, en imposant à son sujet une structure particulière de temps. Je me suis appuyée sur la théorie deleuzienne du temps et sa thèse sur la formation du sujet. La synthèse du temps deleuzienne présente le temps comme constitutif du sujet plutôt que comme une forme subjective du temps, expliquant ainsi comment le sujet peut être passivement produit par le temps. Il procure également une thèse sur la formation du sujet à travers le capital, processus qu’il appelle « subjectivation ». En particulier, cette recherche consiste en trois tâches :(1) le rôle critique de la temporalité dans la formation du sujet, (2) la temporalité spécifique caractéristique du capitalisme financier contemporain, et (3) une pathologie du temps observée chez le sujet du capitalismeThis dissertation looks at time as a socially or psychologically imposed ‘structure’ that determines the ways in which past, present and future are weaved together in the subject. This inquiry presents (1) a critical role of temporality in the formation of the subject, (2) a specific temporality characteristic of contemporary financial capitalism, and (3) the pathologies of time found in the subjects of capitalism. The first two chapters provide an extensive analysis of Deleuze’s passive syntheses of time given in Difference and Repetition, which reveals the subject’s passive relation to time as a structure of ‘becoming.’ The following chapters examine how this ontological structure of time interacts with socio-economic temporalities in its production of the subject. I particularly focus on the temporal structure of debt, which has become a general condition of the subjects in the current economic system. I claim that the debt-based economy produces ‘melancholic subjectivity,’ characterized by a dominance of the past and the inhibition of becoming
49
Chowdhury, Tanzil Zaman. "Toward a concrete temporality of adjudication : law's subject and event." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/toward-a-concrete-temporality-of-adjudication-laws-subject-and-event(04be1e51-b3d1-4995-a543-2ec5aa7a5e49).html.
Full textAbstract:
This thesis claims that temporality can provide a novel means through which to distinguish between different types of judgment. Specifically, it focusses upon how the adjudicative process determines factual construction and argues that the resultant construction is, at least in part, contingent upon temporality. As the first of two starting points, the thesis begins by rejecting the subsumption thesis of judgment which states laws simply subsume facts that they ‘correspond to’. It attributes this rejection to the generality of laws and their flexibility as either rules or standards. Second of the two starting points, though related to the first, is what the thesis refers to as the ‘Kantian axiom’ which argues that time shapes consciousness. Extending this, the thesis posits that, filling in the lacuna created by the shortcomings of the subsumptive theory of judgment, adjudication’s temporality shapes its factual construction. Having established these preliminary points, the thesis describes the different ends of a spectrum of judgment in which legal decisions can tend toward. Adjudication as Cognition (abstract judgment), predicated I argue on a spatial-temporality at one end, and Adjudication as Understanding (concrete judgment), grounded on a creative reading of Bergsonian and Gadamerian temporality at the other. The main differences between these forms of judgment is the qualitatively different types of fact they produce, made possible through the temporalities upon which they are contingent. This results in different constructions of the subject and event (facts which law gives meaning to) which may impact upon ascriptions of responsibility. In addition, it is with adjudication as understanding that a potentially transformative form of judgment is possible and in which the radical difference of the subject and event of law emerges. Temporality is thus capable of reframing old problems of jurisprudence as well as articulating new ones. It argues that factual construction, in particular subjectivity is, in part, predicated upon time, and that temporality, as unproblematised, may conceal an exercise of judicial power. It also highlights the general marginalisation of temporality in (legal) modernity and reveals the ‘temporal trap’ of legal subjectivity in which futures are bound and pasts are arbitrarily selected.
50
Thomas, Antonia. "Art and architecture in Neolithic Orkney : process, temporality and context." Thesis, University of the Highlands and Islands, 2016. https://pure.uhi.ac.uk/portal/en/studentthesis/art-and-architecture-in-neolithic-orkney(8a1d24c9-bfe6-4dd8-a215-70076c10600e).html.
Full textAbstract:
This thesis presents a contextual analysis of Neolithic art and architecture in Orkney. Focussing upon the Heart of Neolithic Orkney World Heritage Site, it details the results of original fieldwork at three sites with in situ dressed and decorated stonework: Maeshowe, Skara Brae and the Ness of Brodgar. It combines the re-interpretation of known architecturally-situated carvings with primary data from new survey and excavation work, and reports the discovery of many previously unrecorded examples. This study reveals a diversity of stoneworking practices at these three sites which contradicts a broad catch-all term of 'art', demanding a more nuanced investigation. Previous studies have discussed the in situ decoration at Maeshowe and Skara Brae, but these have never been compared in detail, and the long histories of attention at these sites have led to questions over the authenticity of their carvings. The discovery of hundreds of comparable, in situ decorated stones from sealed Neolithic deposits during excavations at the Ness of Brodgar demolishes these doubts. The insight that this fieldwork has allowed is crucial. Excavation exposes aspects of the architecture which normally remain hidden, and allows the recording of decoration and stoneworking in situ, and as it is first revealed. This takes the discussion beyond the surface to allow an understanding of how stones were worked and decorated as part of the processes of construction and occupation. This challenges many narratives of Neolithic art and architecture, which have tended to focus upon superficial aspects of visual form, overlooking the ways in which buildings and stones came to be worked, carved, built and appreciated. It allows an exploration of how buildings and carvings emerge though process, and how the temporality of the working, decoration and appreciation of particular stones relates to the wider context of art and architecture in Neolithic Orkney.