Tesis sobre el tema "Philosophy in art and politics"
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1
Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art". Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.
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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'
2
Kim, Byoungjae. "Sympathy and reflection in Hume's philosophy : mind, morals, art and politics". Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12958/.
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Hume, as an "anatomist" of human nature, believes that "the science of man is the only solid foundation for the other sciences". The naturalistic and experimental analysis of human nature, as it informs his epistemology, is the basis for other areas. Thus, in order fully to understand his philosophy, we need to shed light on the connection between Hume's experimental analysis of human nature in epistemology, and his naturalistic account in ethics, aesthetics, and political philosophy. However, too often, writers on the latter are not always fully informed on his general philosophy and vice versa. A principal aim of this research is to bring together investigation of his naturalistic epistemology, and his ethics, aesthetics and political philosophy. This project brings close attention to bear on all of these areas, focusing on three key concepts: sympathy, general rule, and reflection. First, I examine the nature of sympathy. I argue against recent interpreters who use his concept of sympathy to construct a solution to the Problem of Other Minds. On my interpretation, Hume employs the concept of sympathy for his ethics, aesthetics and political philosophy, not for his epistemology. Second, I show that the concept of general rule plays an essential role in his philosophy. On my interpretation, Hume first establishes the general rules of human nature. He then establishes the general rules of his ethics, aesthetics and political philosophy. Third, I uncover the role of reflection in his philosophy. According to him, it is wrong to apply abstract reasoning to matters of fact; Instead, we should adopt the experimental reasoning that he terms "reflection" to observe and generalise matters of fact, thus establishing general rules in ethics, aesthetics and political philosophy. In this way, we can see the intimate connections between these diverse aspects of his philosophical writings.
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Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production". Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.
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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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May, Adrian. "Lignes, an intellectual revue : twenty-five years of politics, philosophy, art and literature". Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/251334.
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The thesis takes the French revue Lignes (1987-present) as its object of study to provide a new account of French intellectual culture over the last twenty-five years. Whilst there are now many studies covering the role of such revues throughout the twentieth-century, the majority of such monographs extend no further than the mid-1980s: the major novelty of this thesis is extending these accounts up until the present moment. It is largely assumed that a reaction against the Marxist and structuralist theories of the 1960s and 1970s led to embrace of liberalism and an intellectual drift to the right in France from the 1980s onwards: whilst largely supporting this account, the thesis attempts to nuance this narrative of the fate of the intellectual left in the following years by showing the persistence of what can be called a politicised 'French theory' in Lignes, and a returning left-wing militancy in recent years. In doing so, it will both reveal under-studied aspects of well-known thinkers, such as Jean-Luc Nancy, Jacques Rancière and Alain Badiou, as their thought develops through their participation in a collaborative, periodical publication, and introduce lesser known thinkers who have not received an extended readership in Anglophone spheres. Lignes also argues for the continued persistence and relevance of the thought of a previous generation of thinkers, notably Georges Bataille, Maurice Blanchot and Dionys Mascolo, and the thesis concludes by examining the potential role 'French Theory' could still have in France. Furthermore, as revues provide a unique nexus of intellectual, cultural, social and political concerns, the thesis also provides a unique history of France from the fall of the Berlin Wall to the 2007 financial crisis and the Arab Spring. Much of the thesis is concerned with contextualising intellectual debates within a period characterised by the moralisation of discourses, a return of religion, the global installation of neo-liberalism and the eruption of immigration as a controversial European issue. From a relatively theoretical and politically stable position to the left of the Parti socialiste, Lignes therefore provides a privileged vantage point for the mutations in French social and cultural life throughout the period.
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Tervo, Juuso Ville. "Corrosive Subjectifications: Theorizing Radical Politics of Art Education in the Intersection of Jacques Ranciere and Giorgio Agamben". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405954690.
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Daniels, John D. (John David) 1946. "The Political Philosophy of Sam Houston". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501136/.
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Although most Americans view Sam Houston as a military leader and practical politician with little understanding of intellectual issues, he actually possessed a complex moral and political philosophy which he elaborated and demonstrated during a fifty-year public career. He based his philosophy on a mixture of Christian idealism and pragmatic realism, with duty, honor, and strict morality serving to restrain his love of reality, reason, and physical pleasures. The dual nature of his moral beliefs extended into his politics, which mixed Jeffersonian republicanism, individual rights, and limited government, with Jacksonian democracy, the needs of society, and the will of the people. Throughout most of his career he kept those conflicting sets of ideals successfully in balance, with only the turmoil of the 1850s leading him into extreme positions.
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Acosta, Maria del Rosario. "The Dialogue that We Are: Understanding as a Space for Politics". Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/112870.
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This paper mainly proposes to point out some aspects that render hermeneutics pertinent within the context of political discussion, defending it from attacks mostly stemming from a philosophy of critical consciousness such as Habermas’s, Adorno’s, and some of their followers. It will be shown, from Gadamer’s perspective, how hermeneutics responds to those critiques within its conception of understanding as a fundamental task and a primordial political space. Contrary to a philosophy that appeals to the need of taking its distance” as a starting point of critique, only place of a true political philosophy and political action, Gadamer’s hermeneutics proposes an alternative that deserves to be considered: it is in dialogue, in the shared space of understanding, rather than in critique, that humans un-veil the possibilities of what is, where the openness of their freedom is given and, consequently, where the space of politics develops –thus in action rather that in reflection.El presente artículo tiene como tarea principal señalar algunos aspectos que hacen pertinente a la hermenéutica dentro del marco de la discusión política, defendiéndola de los ataques que se le han propugnado sobre todo desde una fi losofía de la conciencia crítica como la de Habermas, Adorno y algunos de sus seguidores. Se mostrará, a partir de Gadamer, cómo la hermenéutica responde a dichas críticas en el marco de su propuesta de la comprensión como tarea fundamental y como espacio político primordial. Frente a una fi losofía que apela a la necesidad de una toma de distancia” como punto de partida de la crítica, único lugar de una verdadera fi losofía y acción políticas, la hermenéutica de Gadamer presenta una alternativa que vale la pena ser rescatada: es en el diá-logo, en el espacio compartido de la comprensión, más que en la crítica, donde el hombre des-encubre las posibilidades de lo que es, donde se da la apertura de su libertad, y, por consiguiente, donde se desenvuelve, en la acción, antes que en la refl exión, el espacio de lo político.
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Abbott, Janet Gail. "Synthesis of the Personal and the Political in the Works of May Stevens". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277656/.
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This thesis is an investigation of the way in which the painter May Stevens (b. 1924) synthesizes her personal experiences and political philosophy to form complex and enduring works of art. Primary data was accumulated through an extended interview with May Stevens and by examining her works on exhibit in New York and Boston. An analysis of selected works from her "Big Daddy" and "Ordinary/Extraordinary" series revealed how her personal feelings about her own family became entwined with larger political issues. As an important member of the feminist art movement that evolved during the 1970s, she celebrated this new kinship among women in paintings that also explored the contradictions in their lives. In more recent work she has explored complex social issues such as teenage prostitution, sexism, and child abuse in a variety of artistic styles and media. This study investigates how May Stevens continues to portray issues of international significance in works that consistently engage the viewer on a personal, almost visceral level.
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Giordano, John. "Between Conviviality and Antagonism| Transactionalism in Contemporary Art Social Practice and Political Life". Thesis, Union Institute and University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3663907.
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The rise of social practice art in Europe and North America since the 1990s has provoked a variety of critical alignments and contestations around multi-authored "post-studio" artwork, aimed at collapsing the boundaries between visual and performing art, and between art and everyday life. One of the most visible and impassioned contestations has centered on the value assigned by different critics to so-called convivial and antagonistic directions for social practice art. This project enters the debate on collaborative and participatory art by highlighting the commonalities between the turn away from spectatorialism in philosophy and the politically-driven, activist social practices coming out of the visual arts. Contending that the more salient problems under debate revolve around what art historian Grant Kester has described as "a series of largely unproductive debates over the epistemological status of the work," I focus on the way different epistemological frames impact the reception of convivial and antagonistic directions in art. With attention to the theory and criticism of Clare Bishop, Grant Kester, Shannon Jackson and Tom Finkelpearl, I examine how a variety of epistemological frames both reflect the work's values around social change, and also impact the critical lenses through which such values are communicated to the public through art criticism. While Bishop raises important questions around the limits of a turn against traditional art spectatorship and singular authorship of visual art, I claim that her view of a convivial tendency in social practice art overlooks key epistemological insights embodied in feminist standpoint theory and American pragmatist epistemology. I contend that John Dewey's view of knowledge as transactional captures the epistemological framing of some of the more socially ameliorative directions social practice work has taken in recent decades because Dewey rejects a view of knowledge that divides subjective entities from each other and from their wider environments. Bishop's traditional spectatorship model fails to capture the aesthetico-political ethos of an area of art that acknowledges the fragile contingency of standpoints. I show that the criticism of Kester, Jackson and Finkelpearl recognize this contingency and then enlarge their perspectives by bringing attention to feminist standpoint theory and pragmatist aesthetics and epistemology. I conclude by claiming that a more robust way of understanding the value of social practices in art recognizes that transactional and contingent standpoints demand an ethos rooted in the continuity of convivial and antagonistic features of aesthetico-political experience.
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Bannister, Randee. "The appreciation of political works of art: The example of "Triumph of the Will"". Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26573.
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The question that we are considering is how to appreciate artworks that have not only an aesthetic presence but a political side as well. We feel that this question is necessary to consider because in order to have a full appreciation of an artwork it is important to consider all facets of the work, but also refrain from including considerations that are not necessary to include. In order to explain why this question is important and also to show a potential response, we use the example of Leni Riefenstahl's film Triumph of the Will. This film is a perfect example of how the aesthetic and political can combine in art. Other suggestions of how to have a complete appreciation of this film, as we try to show, are insufficient as an answer to our question and so we propose our own theory of the appreciation of not just political artworks but all artworks, that being partial autonomy.
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Beaumont, Tim John. "Mill, Method, and the Art of Life". Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493435.
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For Mill, the Art of Life requires one to find the appropriate quasi-Platonic balance between Morality, Nobility, and Prudence. In consequence, his Art of Life could fail in any of three ways, corresponding to the assignment of undue scope to any one department at the expense of the remainder. This thesis uses analytical methods, including de dicto and de re interpretation, to unlock the fundamental axiological and existential premises which give Mill’s Art of Life its unity, its creative tensions, and can guide the reconstruction of his system today.Government
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Sunderland, Sophie Monica May. "Representations of the secular : neutrality, spirituality and mourning in Australia and Canadian cultural politics". University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0177.
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[Truncated abstract] This thesis explores the ways in which 'the secular' is represented in contemporary Australian participatory art, screen, and print cultures. Secularisms are currently the subject of analysis in a broad range of disciplines within the humanities, and this thesis intervenes upon the field by focusing on the cultural politics of representations of embodied, spatialized secularisms. The secular is commonly defined in opposition to the 'religious,' and can also be extrapolated to the division of public and private spaces. Thus, by considering the occlusions and violences inherent in the ways bodies negotiate and are constructed through space, this thesis argues for the fluidity and porosity of these oppositions. By drawing from Janet Jakobsen and Ann Pellegrini's notion of secularisms, understood as specific, situated narratives of the secular, as well as Talal Asad's and William E. Connolly's conceptions of the secular, this thesis identifies 'neutrality' and 'spirituality' as two key narratives of the secular around which questions of language, embodiment, affect, and subjectivity are set in motion. Here, a regime of representation that constructs 'religious' subjects as outsiders to an imagined Australian national identity is critiqued and reconsidered in terms of anxieties about remembering and living with difference and loss. Rather than defining 'the secular,' this thesis seeks to maintain focus on the context and contingencies of enunciation. Thus, firstly the conflation of secularism with 'neutrality' and 'objectivity' is explored through a discussion of 'defining' secularisms, alongside critique of representations of the Oxford English Dictionary (OED). By identifying the ways in which this 'everyday' text signals exclusions through the privileging of British Protestant Christianity in its contents, colonial history and usage, I consider how 'neutrality' is made contextually and contingently. ... . Here, secular mourning is a suggestive concept that foregrounds 'affective economies' of loss, grief, and mourning alongside openness to the ways in which identity is made and lived relationally, and differently. Given that the representations of Australian secularisms I identify are made by locating 'the religious' elsewhere, this thesis reflects upon this process by including a contingent comparative study of representations of Canadian secularisms. Participatory art including the Secular Confession Booth (2007) in Toronto and The Booth (2008) in Perth, news media debates about secularism in Ontario and
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McAnally, Elizabeth Ann. "Toward a philosophy of water: Politics of the pollution and damming along the Ganges River". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3643/.
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This thesis sets out to develop a beginning of a philosophy of water by considering philosophical implications of ecological crises currently happening along the waters of the Ganges River. In my first chapter, I give a historical account of a philosophy of water. In my second chapter, I describe various natural and cultural representations of the Ganges, accounting for physical features of the river, Hindu myths and rituals involving the river, and ecological crises characterized by the pollution and damming of the river. In my third and final chapter, I look into the philosophical implications of these crises in terms of the works of the contemporary philosopher Bruno Latour.
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Dykstal, Timothy. "The luxury of skepticism : politics, philosophy, and dialogue in the English public sphere, 1660-1740 /". Charlottesville (Va.) : University press of Virginia, 2001. http://catalogue.bnf.fr/ark:/12148/cb376467388.
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Pascarella, John Antonio. "Friendship, Politics, and the Good in Aristotle's Nicomachean Ethics". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801900/.
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In Aristotle's Nicomachean Ethics, Books VIII and IX provide A philosophic examination of friendship. While these Books initially appear to be non sequiturs in the inquiry, a closer examination of the questions raised by the preceding Books and consideration of the discussion of friendship's position between two accounts of pleasure in Books VII and X indicate friendship's central role in the Ethics. In friendship, Aristotle finds a uniquely human capacity that helps readers understand the good is distinct from pleasure by leading them to think seriously about what they can hold in common with their friends throughout their lives without changing who they are. What emerges from Aristotle's account of friendship is a nuanced portrait of human nature that recognizes the authoritative place of the intellect in human beings and how its ability to think about an end and hold its thinking in relation to that end depends upon whether it orders or is ordered by pleasures and pains. Aristotle lays the groundwork for this conclusion throughout the Ethics by gradually disclosing pleasures and pains are not caused solely by things we feel through the senses, but by reasoned arguments and ideas as well. Through this insight, we can begin to understand how Aristotle's Ethics is a work of political philosophy; to fully appreciate the significance of his approach, however, we must contrast his work with that of Thomas Hobbes, his harshest Modern critic. Unlike Aristotle, Hobbes is nearly silent on friendship in his political philosophy, and examining his political works especially Leviathan reveals the absence of friendship is part of his deliberate attempt to advance a politics founded on the moral teaching that pleasure is the good. Aristotle's political philosophy, by way of contrast, aims to preserve the good, and through friendship, he not only disentangles the good from pleasure, but shows a level of human community more suitable for preserving the good than political regimes because these communities have more natural bonds than any regime can hope to create between its citizens.
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Hardt, Michael. "The art of organization : foundations of a political ontology in Gilles Deleuze and Antonio Negri /". Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6623.
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Siani, Alberto L. "Il destino della modernità : arte e politica in Hegel". Doctoral thesis, Scuola Normale Superiore, 2009. http://hdl.handle.net/11384/86121.
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Quaoser, Nova. "Art's Truth: An Aid to Ethical Sensibility". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2123.
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In this paper I explore the philosophical implications of decision theory and deliberation on ethics, paying special attention to how vicious individuals yearn for a separate philosophical account. Drawing largely on Fricker, McDowell, Paul, and Nussbaum I discuss how transformative experiences open a window for understanding moral development in terms of habituation in the Aristotelian sense, and further how the vicious individual’s failure to deliberate may be remedied via a transformation through art.
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Ellery, Margaret. "Making the frontier manifest : the representation of American politics in new age literature /". Connect to this title, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0043.
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Turner, Barry John y barry turner@rmit edu au. "Nasution total people's resistance and organicist thinking in Indonesia". Swinburne University of Technology, 2005. http://adt.lib.swin.edu.au./public/adt-VSWT20060227.095349.
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This thesis argues that General Abdul Haris Nasution, the most influential military strategist
that Indonesia has produced, developed an elective affinity between his strategies for 'people�s
resistance' and an organicist vision of the proper relations between the state (including the
military) and society that led to the Indonesian Army�s formulation of a unique, pervasive and
highly durable means of military intervention in politics, the economy and society.
Organicism is a stream of political thinking that views state and society as a single organic
unity. Corporatist / functional modes of interest representation are often associated with
organicist thinking.
Nasution�s 'people�s resistance' strategies emerged during the armed struggle for national
independence (from the Dutch) in the second half of the 1940s. The thesis argues that unlike the
'people�s war' strategies that emanated from the political left at roughly the same time,
Nasution�s concepts were designed to uphold organic 'traditional' authority structures and
depoliticise the national struggle. Associated with these strategies was a system of territorial
commands that shadowed and supervised the aristocratically led civilian administration.
The form of military intervention that grew out of this elective affinity reached its peak during
the New Order regime of former President Suharto (1966 � 1998), when the army used its
'people�s resistance' doctrines and their associated territorial commands to control the
population and the regime championed state-sanctioned corporatist / functional modes of
interest representation.
The identification of this elective affinity is a major point of departure from previous political
biographies of Nasution. Another is the emphasis placed on Nasution�s family and personal life,
particularly in the early chapters.
This thesis explains how personal and family influences encouraged Nasution towards organicist
thinking. It identifies how, in the early 1950s, Nasution idealised his 'people�s resistance'
strategies and the support given to him during the armed struggle by organic 'traditional'
authority figures. It shows how Nasution�s elective affinity between organicist thinking and
'people�s resistance' infused the interventionist doctrines that the army began to develop in the
mid-to-late 1950s.
In recent years the Indonesian Army has distanced itself from corporatist / functional forms of
interest representation and has largely retreated from an active involvement in politics.
Nevertheless, the thesis identifies a continuing adherence within the Army leadership to
Nasution�s system of territorial commands and concepts of 'people�s resistance' that cannot
readily be reconciled with democratic processes.
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SILVA, Lázaro Aparecido. "Filosofia e política: o sentido da educação e da cultura". Universidade Federal de Goiás, 2007. http://repositorio.bc.ufg.br/tede/handle/tde/1078.
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Tese Lazaro Aparecido Silva.pdf: 1267317 bytes, checksum: 468e0a63264afb1a3273c5342cb0b06c (MD5)
Previous issue date: 2007-08-06Culture and educational process, reflections about the education meaning, I ask about the reality. Theoretical issue in Hannah Arendt s thinking and others philosophers which she refers, I examine the vita contemplative and the vita active whit its implications in the culture. So, my conclusion is that the means of education isn t to demonstrate how reality is, but how it would became, affirming the metaphysic s merit.
Cultura e processos educacionais, uma reflexão sobre o sentido da educação e da cultura em que indago o significado da realidade. Pesquisa teórica tendo como fundamento o pensamento de Hannah Arendt e pensadores que lhe servem de referência. Investigo a vita contemplativa e a vita activa com suas implicações na filosofia, na política, na educação e na cultura. Concluo que o sentido da educação não é o de mostrar como a realidade é, mas como poderia ser, afirmando o valor da metafísica.
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Ellery, Margaret. "Making the frontier manifest : the representation of American politics in new age literature". University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0043.
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This thesis explores the history of the New Age movement through a political analysis of influential New Age books. By drawing upon cultural, religious and American studies, and concepts from literary criticism and political science, a new understanding of the movement becomes possible. This thesis analyses the ideological representations and rhetorical strategies employed in both New Age literature and American presidential discourse. It is argued that their shared imagery and discursive features indicate that New Age writings derive their ideological underpinnings and textual devices from dominant beliefs of American nationalism. This historical examination begins with the Cold War in the late 1940s and ends with the 1990s. Each chapter traces parallels between a particular presidential discourse and New Age texts published in the same decade commencing with Dwight D. Eisenhower and The Doors of Perception and finishing with William J. Clinton and The Celestine Prophecy: An Adventure. It argues that the appropriation of particular spiritualities in New Age texts is closely related to contemporary American geo-political interests and understandings. Major New Age spiritual trends are derived from regions, most often in the third world, which are considered to be under threat from forces such as Communism. New Age writings construct an imaginary possession of these worlds, reconfiguring these sites into frontiers of American influence. In particular, this study examines the influence of the jeremiads and the ensuing Monroe Doctrine and Manifest Destiny ideologies upon post-war national beliefs and the extent to which these understandings of nationalism inform New Age discourse. Representations of time and space, destiny and landscape, and self and other in these literary and political contexts are analysed. From this perspective, the eclecticism that marks the New Age can be historically understood as a shifting cultural expression of Cold War and post-Cold War political responses. Consequently, New Age literature is one of the means by which dominant American identity is reproduced and disseminated in what seems to be an alternative spiritual context.
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De, Kock-Wiesener Cornelia. "Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kuns". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53613.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.
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Mysak, Mark. "The Environmental is Political: Exploring the Geography of Environmental Justice". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30497/.
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The dissertation is a philosophical approach to politicizing place and space, or environments broadly construed, that is motivated by three questions. How can geography be employed to analyze the spatialities of environmental justice? How do spatial concepts inform understandings of environmentalism? And, how can geography help overcome social/political philosophy's redistribution-recognition debate in a way that accounts for the multiscalar dimensions of environmental justice? Accordingly, the dissertation's objective is threefold. First, I develop a critical geography framework that explores the spatialities of environmental injustices as they pertain to economic marginalization across spaces of inequitable distribution, cultural subordination in places of misrecognition, and political exclusion from public places of deliberation and policy. Place and space are relationally constituted by intricate networks of social relations, cultural practices, socioecological flows, and political-economic processes, and I contend that urban and natural environments are best represented as "places-in-space." Second, I argue that spatial frameworks and environmental discourses interlock because conceptualizations of place and space affect how environments are perceived, serve as framing devices to identify environmental issues, and entail different solutions to problems. In the midst of demonstrating how the racialization of place upholds inequitable distributions of pollution burdens, I introduce notions of "social location" and "white privilege" to account for the conflicting agendas of the mainstream environmental movement and the environmental justice movement, and consequent accusations of discriminatory environmentalism. Third, I outline a bivalent environmental justice theory that deals with the spatialities of environmental injustices. The theory synergizes distributive justice and the politics of social equality with recognition justice and the politics of identity and difference, therefore connecting cultural issues to a broader materialist analysis concerned with economic issues that extend across space. In doing so, I provide a justice framework that assesses critically the particularities of place and concurrently identifies commonalities to diverse social struggles, thus spatializing the geography of place-based political praxis.
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Rocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being". VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.
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Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim
their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.
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Slaight-Brown, Shannon M. "Restoration". VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4890.
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The marks I make in clay have different characteristics, and the physical mark of one’s fingertips or visual record of the hand is personal and intimate. This visible activity is the evidence of my constant presence and control within each object. Its repetitive meditation produces a private relief from my persistent anxieties. This exploration for me is not only visual, but also physical. This is the start of my infatuation with the idea of pattern. It has its own discrete visual language and modes of communication; and through my research I am developing a method of intercommunication.
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Gourbin, Gilles. "La politique expérimentale de Diderot". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H218.
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La reconnaissance dont l’oeuvre de Diderot fait l’objet depuis une quarantaine d’années admet une exception d’importance : sa politique. Ordinairement, on concède à l’auteur des "Mémoires pour Catherine II", des « idées » ou des « vues » sur la politique, mais nullement une pensée politique. En effet, l’absence de traité politique dans son oeuvre pourtant abondante fait immanquablement conclure que ses « pensées détachées » sur de multiples objets politiques ne constituent en rien un corps doctrinal cohérent et constant. Au rebours de ce lieu commun, notre étude s’efforce de montrer qu’il existe une authentique pensée politique chez Diderot : non seulement ses écrits politiques disparates constituent un ensemble cohérent mais ils sont, de surcroît, congruents à l’ensemble de son oeuvre philosophique. Cette cohérence est conçue dès les Pensées sur l’interprétation de la nature lesquelles établissent les principes de la « philosophie expérimentale » qui président à l’élaboration du corpus diderotien. Cette philosophie expérimentale est d’ailleurs moins une « méthode » déduite des sciences naturelles et appliquée à la politique, qu’une « façon de penser » d’abord éprouvée sur les réalités naturelles avant d’être expérimentée sur les réalités sociales. Notre recherche met en évidence cette « politique expérimentale », aussi bien dans l’élaboration de sa« métaphysique politique » ou dans sa façon d’expérimenter l’écriture en politique que dans ses conceptions de l’économie, de l’art de gouverner, du meilleur régime ou de la prise du pouvoirIn the past forty years Diderot’s work has enjoyed a wide recognition with one important exception: his politics. The author of “Mémoires pour Catherine II” is usually considered as having “ideas” or “views” on politics but not an elaborate political theory. The absence of a treatise on politics in his nonetheless abundant works led to the conclusion that his varied thoughts on many political objects did not constitute a coherent and constant theory. Contraryto this commonplace belief my research aims to show that there is an authentic political reflexion in his works: his separate political writings not only form a coherent whole but are congruent with his philosophical works. This coherence is already conceived in his “Pensées sur l’interprétation de la nature” which establishes the principles of experimental philosophy, which preside over the creation of the whole of Diderot’s works. This experimental philosophy is less the method from natural sciences applied to politics than a way of thinking first tested on natural realities before applying it to social realities. My research highlights his “experimental politics” in the elaboration of his “political metaphysics” or in his way to experiment writing in politics, as well as in his ideas on the economy, the art of government,the best government, or the seizure of power
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Belluigi, Dina Zoe. "Excavating the 'critique' : an investigation into disjunctions between the espoused and the practiced within a Fine Art studio practice curriculum". Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1003413.
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This report presents the findings of a case study excavating the event of the ‘Critique’ (crit), the formative assessment method within a Fine Art Studio Practice curriculum. Arguments informed by critical postmodernism, education theories and contemporary art criticism are utilised to construct a dialectic of higher education, contemporary art and fine art studio practice. An emphasis is placed on the importance of agency, expressed through intentionality and critical thinking, with a recognition of the relationship between ‘the self’ and ‘the other’. Using critical discourse analysis, the disjunctions between the espoused and practiced curriculum are explored. The researcher analyses how the assessment practices of the case studied are influenced by unexamined agentic factors, such as inter-departmental relations, lecturers’ assumptions and prior learning, and structural determinants, such as the medium-specific Bachelor of Fine Art degree structure and prevailing artistic traditions. The research findings indicate that these are underpinned by tensions between two orientations, the espoused curriculum’s discourse-interest informed by critical theory, and the theory-in-use. The latter is shown to have unexamined modernist leanings towards formalism and a master-apprentice relationship between lecturer and students, which encourages reproduction rather than critical, creative thinking. The dominant discourses in the case studied construct a negative dialectic of the artist-student that can be seen to deny student agency and authorial responsibility. Findings suggest that students experience this as alienating, to the extent that to preserve their sense of self, they adopted surface and strategic approaches to learning. An argument is made for lecturers’ critically reflexive engagement with their teaching practice, and thereby to model ethical relationships between ‘self’ and ‘other’ during ‘crits’. In addition, emphasis is placed on how assessment practices should be more aligned with the espoused curriculum, so that the importance of a reflexive relationship between form and content, process and product, intentionality and interpretation is acknowledged.
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McGowan, Wayne S. "Thinking about the responsible parent : freedom and educating the child in Western Australia". University of Western Australia. Graduate School of Education, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0014.
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This study is concerned with how educational legislation shapes and uses freedom for the purpose of governing the parent. The key question guiding the study was: How does the Act constitute the ‘parent’ as a subject position responsible for schooling the child? Central to the work is an examination of the School Education Act 1999 (the Act) using Foucault’s thinking on governmentality. This is prefaced by historical accounts that bring together freedom and childhood as contrived styles of conduct that provide the governmental logic behind the Act. The study reveals how the Act shapes and uses the truth of freedom/childhood to construct the responsible parent as a style of conduct pegged to a neo-liberal political rationality of government. It is this political rationality that provides the node or point of encounter between the technologies of power and the self within the Act which forms the ‘responsible’ identity of the parent as an active self-governing entrepreneur made more visible by the political construction of ‘others.’ This is a legal-political subjectivity centred on the truth of freedom/childhood and a neo-liberal rationality of government that believes that any change to our current ethical way of being in relation to educating the child would ruin the very freedoms upon which our civilised lifestyle depends. In essence, the Act relies on the production of ‘others’ as the poor, Aboriginal and radical who must be regulated and made autonomous to constitute the ‘parent’ as an active consumer whose autonomous educational choices are an expression of responsibility in relation to schooling the child
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Kaden, Martha J. "Herinnering, geskiedenis, identiteit : 'n ondersoek na beeld en teks in mito-poesis". Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/8546.
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Thesis (MA)--University of Stellenbosch, 2002.214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011.
ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life.
AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.
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Segura, Dobjanschi Nicolas. "Beauty and Politics, With Special Reference to Politics". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2112.
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The paper aims to examine the nature of the relationship between beauty and the city. I examined this relationship by first providing a summary of relevant philosophers and their thoughts concerning aesthetics. Second, I compared their thoughts to my own creating my own abstract framework. Third, I implemented my abstract framework through the lens of architecture. This art form is the most organic to study the relationship of beauty within the city because it merges elements characteristic of one’s being like political discourse with the longing for some type of excitement or stimulation which might transfigure one’s self to a higher understanding, something that can only be achieved by experiencing beauty. In other words, buildings and the spaces around them drive the way in which humans interact with each other and their surroundings. I found that the beautiful is desirable and at a point becomes essential to a person’s happiness. To achieve a sense of beauty within the city, the ruling class must possess practical wisdom. A type of knowledge that allows them to pursue the appropriate and promote a kind of creativity that not only respects tradition but also aims to unveil some new form of experience.
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Zoss, Pascal. "L'ironie cynique : une subjectivation sans partage". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080072/document.
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Les pratiques performatives de l’art, en particulier celles des années soixante àsoixante-dix, présentent en leurs actes excessifs, corporels, une forme de subjectivationpolitique qui invite à reprendre la « voie courte » du cynisme antique hors des interprétationsfidèles au telos philosophique du « mieux vivre », du « bien » ou du « juste ». Cetterencontre oblige à dégager du rapport anecdotique ou documentaire une compréhensionde la matérialité des actes, de leur résistance à toute leçon rapportée après coup, bref àinterroger obstinément leur reste.D’autre part, en saisissant l’inclusion et l’exclusion sociales comme le résultat de lanaturalisation solidarisée des uns et des autres, de la discrimination des capacités et desincapacités naturelles, la mise à l’épreuve de cette solidarité devient le point nodal de laquestion égalitaire. Les actes cyniques dessinent alors les lignes qui laissent envisager lasubjectivation dans le constant retrait du sujet de son assimilation normative ou policière.L’ironie marque sans relâche ce processus en dissimulant le sujet à l’ombre de ses actes,comme la ruse d’une identification à la nature incompétente de l’exclu. C’est en effet enamplifiant la représentation naturelle de l’exclusion, en lui apportant la plus grande densitématérielle, que la subjectivation cynique ouvre une béance à la frontière qui sépare lespropriétés des inclus et des exclus. Et cette béance qui décharge l’auteur de toute subjectivité,de l’obligation de fonctionner dans le régime policier de l’inégalité, donne son lieuau désir sans sujet, celui précisément que présuppose l’égalité des sujetsThe performative art practices, especially those of sixties and seventies, present aform of political subjectivation within their excessive and body acts, which invites us toresume Ancient Cynicism’s « short route », out of the interpretations that were faithful to thephilosophical telos of « better life », « good » or « right ». This conjunction is a compelling callfor achieving, beyond the anecdotal or documentary report, a wider understanding of themateriality of acts, of their resistance to any reported lesson and, ultimately, to restesslyquestion their remainder.Furthermore, when grasping the social inclusion and exclusion as the result of cohesivenaturalization, of discrimination of natural abilities and inabilities, the actual testingof this solidarity reaches the core of the equalitarian question. Then, cynical acts draw theoutline which let consider the subjectivation within the constant withdrawal of the subjectfrom his normative or « police » assimilation. Irony relentlessly leaves its marks on this processby hiding the subject in the shadow of his acts, as the ploy of an identification to theincompetent nature of the excluded one. It is indeed by amplifying the exclusion’s naturalrepresentation, by giving it the biggest material density, that the cynicism subjectivationopens a gap between the belongings of included and excluded ones. And this gap, whichrelieves the author of any subjectivity, of the obligation to operate within the « police »regime of inequality, gives its place to the desire with no subject, that very one preciselypresupposed by the equality of subjects
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Benson, Steven. "Politics without foundations". Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242199.
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Marzec, Megan E. "Wastelands, Revolutions, Failures". Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429889399.
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Finichiu, Ana-Alice. "Territoires entre-deux: agencements, biopolitique et junkspace". Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209210.
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(résumé en français)Le diagnostic de Rem Koolhaas sur les métropoles actuelles montre une ville générique, sans fin, sans identité, sans passé, sans rues, la seule activité qui reste est le shopping et la condition « in-transit » devient universelle. À cette analyse manque une partie très importante, la condition biopolitique de la métropole, qui expliquerait plusieurs des caractéristiques de ce Junkspace, comme le fait qu’il contient la possibilité de résistance face au générique.
À la lumière de ce constat et suivant les directions de pensée que Gilles Deleuze et Félix Guattari ouvrent dans Mille Plateaux, cette thèse propose d’identifier les intervalles témoignant de la dimension biopolitique du Junkspace au travers d’une mobilisation de la théorie des agencements comme hypothèse pour la théorie architecturale et urbaine. Le postulat général est que ces intervalles seraient des territoires entre-deux qui fonctionneraient comme des laboratoires d’agencements témoignant d’une pratique architecturale politique redéfinissant le rôle même de l’architecte.
Trois axes de recherche sont déployés. Le premier interroge la pertinence d’une pensée architecturale en termes d’agencements dans le contexte des transformations actuelles des territoires. À la suite d’un croisement avec la pensée de Deleuze et Guattari l’architecture se comprend dans son processus d’agencement et réagencement. Le second axe interroge la dimension biopolitique du Junkspace identifiant les points critiques de ses agencements et évaluant le paradoxe de l’entre-deux. Le troisième axe met à l’épreuve le potentiel des territoires entre-deux de créer des opportunités pour de nouvelles configurations spatiales.
(english abstract)
Rem Koolhaas’s diagnostic of the modern metropolis shows a generic city with no end, no identity, no past, no streets where the only activity remaining is shopping and the « in-transit » condition is becoming universal. An important part is missing from this analysis: the biopolitical condition of the metropolis, that could explain a number of Junkspace’s characteristics, like the fact that it contains the possibility to resist the generic condition.
In the light of this review and in accordance with the philosophical directions that Gilles Deleuze and Félix Guattari draw in A Thousand Plateaus, this research intends to identify the intervals witnessing the biopolitical dimension of Junkspace by rallying the assemblage theory as hypothesis for the architectural and urban theory. The general postulate is that these intervals are in-between territories functioning as laboratories of assemblages that show a political and resistant architectural practice redefining the very part of the architect.
Three lines of research are deployed. The first one questions the relevance of an architectural assemblage thinking in the context of the current territorial transformations. Operating a crossing with Deleuze and Guattari’s thought, architecture is understood as a process of assembling and re-assembling. The second line of research is questioning the biopolitical dimension of Junkspace identifying the critical points of its assemblages and evaluating the in-between paradox. The third research line is testing the in-between territories potential to create opportunities for new spatial configurations.
Doctorat en Art de bâtir et urbanisme
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Billingsley, Amy. "Humorwork, Feminist Philosophy, and Unstable Politics". Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24550.
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This dissertation examines humor as a situated practice of reappropriation and transformation undertaken by a subject within a social world. I bring together insights from humor studies, philosophy of humor, and feminist philosophy (especially feminist continental philosophy) to introduce the concept of humorwork as an unstable political practice of reappropriating and transforming existing images, speech, and situations. I argue that humorwork is an unstable politics because the practice of reappropriation and transformation often exceeds the intentions of the subject practicing humor, taking on a continued life beyond the humorist’s intentions. By focusing on the practice of humor, the subject who produces it, their social and political world, the affects circulated through political humor, and the politics of popular and scholarly discourse about humor, I push against a reductive, depoliticized concept of humor and the trivializing gesture of “it’s just a joke.” Instead, I argue that humorists are responsible and connected to (if not always blameable) for the social and political life of their humorwork, despite the unstable and unpredictable uptake of humor against a humorist’s intentions.
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Newey, Glen. "Rationality and politics". Thesis, University of York, 1990. http://etheses.whiterose.ac.uk/10923/.
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Baek, Hyeon Sop. "Benevolent Politics: A Proposal for Maternal Governance". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent161913342452055.
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Heiney, Everett Alexander. "Zarathustra's Politics". Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/363.
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This paper will argue in three sections that Thus Spoke Zarathustra necessarily implies an aristocratic political system. In the section "Zarathustra’s Value Theory," I lay out Zarathustra's theory of value creation. In the second section, "Possible Interpretations of Value Creation," I describe three different perspectives that can be used to understand Zarathustra’s value theory. In the third section, "Zarathustra and Politics" I provide a critique of modern liberalism and an alternative coherent with Nietzsche's philosophy, aristocracy.
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Vilc, Sonja. "Kunst. Politik. Wirksamkeit". Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18133.
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Die historischen Avantgardebewegungen haben mit dem Angriff auf die Autonomie der Kunst ein Erdbeben erzeugt, das sowohl die zeitgenössische Kunstpraxis als auch die ästhetische Theorie nachhaltig bewegt. Das Vermächtnis der historischen Avantgarden bleibt insofern als the Living Dead bestehen, als die Forderung, politisch wirksame Kunst zu schaffen, seit dem Beginn des 20. Jahrhunderts immer wieder begraben und wiederbelebt wird. Auf der Ebene der Theorie pendeln diese Debatten zwischen der Konzeption einer autonomen Kunst einerseits und einer heteronomen Kunst andererseits, wobei Erstere einer philosophischen und Letztere einer soziologischen Kontextualisierung von Kunst entspricht. Die vorliegende Arbeit stellt diese beiden Perspektiven – einmal die ästhetische Theorie von Jacques Rancière und einmal die Gesellschaftstheorie von Niklas Luhmann – nebeneinander und zeigt, wie ein künstlerisches Schaffen – hier Marko Peljhans Projekt Makrolab – zugleich politisch wirksam und politisch unwirksam sein kann. Mit diesem Schritt wird die Diskussion über politische Kunst auf die Diskussion über die Wirksamkeit verschoben. Es wird festgestellt, dass die Frage nach politisch wirksamer Kunst nur im Rahmen einer kulturhistorisch spezifischen Vorstellung von Wirksamkeit möglich ist. Wird diese Vorstellung von Wirksamkeit durch eine andere ersetzt, verliert die Frage nach politischer Kunst ihren Sinn, es erschließt sich jedoch ein neues Verständnis des gesellschaftlichen Wandels, das weit über die Themen der Kunst hinausgeht.By attacking the autonomy of the arts, the historical avant-gardes caused an upheaval which has resonated in the contemporary artistic practices as well as in art theory to this day. The legacy of the historical avant-gardes remains in the state of the living dead, since the demands to make political art have since the beginning of the 20th century repeatedly been buried and resuscitated. On the level of theory, these debates have been oscillating between the concept of an autonomous sphere of art on the one side and the heteronomous sphere of art on the other, whereas the former corresponds to a philosophical and the latter to a sociological contextualisation of the arts. This text combines both of these perspectives, putting Jacques Rancière’s philosophy of art and Niklas Luhmann’s social theory side by side in order to show how a singular artwork – here Marko Peljhan’s project Makrolab – can be understood as politically efficient and not politically efficient at the same time. With this step the discussion about political art is shifted to a discussion about efficacy and brought to the conclusion that the question of political art is only possible within a frame of a culturally and historically specific conception of efficacy. When this specific conception of efficacy is replaced by another, the question about political art loses its meaning. However, it is exactly at this point that a new understanding of social change opens up, which reaches far beyond the domain of art theory.
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Lafferty, Michael Gerald. "Arthur Danto's philosophy of art". Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/42211/.
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The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art.
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Gustafsson, Daniel. "A philosophy of Christian art". Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8052/.
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This thesis offers an original and comprehensive philosophical approach to the understanding of Christian art. It draws on a range of sources, from analytic and theological aesthetics, philosophy and theology, to interpret and articulate a vision of the aims and prerogatives of Christian art. Works by William Blake, David Jones, and R. S. Thomas are among those receiving close attention; works which yield a picture of art and creative labour as deeply implicated in the central mysteries and practices of the Christian faith. In five chapters, the thesis addresses the nature and the implications of the Form, the Beauty, the Good, the Ontology, and the Love of Christian art. It is the aim of Christian art to manifest God under the particular forms and beauty of the artwork. These forms are realised and discerned in the context of a Christian life. The artwork’s beauty invites a response of delight, gratitude, and the reorientation of our desires and dispositions towards the infinite beauty of God. As a sacramental object, the Christian artwork is positioned in a Christian ontological narrative, in which we humans are entrusted with transformative stewardship of the world. Outside this conceptual and ontological context, the work will not be experienced as what it is. Ultimately, the Christian artwork begs to be perceived and engaged with – as indeed it is created – as an object of love. Thus the artwork finds its place within an understanding of Christian faith as the striving for a personal union with God. Above all, Christian art is made, received and loved as part of our calling to grow in the divine likeness. In presenting this vision, the thesis breaks new ground, and not only makes significant contributions to analytic and theological aesthetics, but also offers material with implications for philosophy and theology more widely.
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Thompson, Seth Aaron. "Art Unfettered: Bergson and a Fluid Conception of Art". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248388/.
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This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.
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Rengger, Nicholas John Hugh. "Reason, scepticism and politics : theory and practice in the Enlightenment's politics". Thesis, Durham University, 1987. http://etheses.dur.ac.uk/6815/.
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This thesis is concerned to discuss two related questions in political theory. First, the relationship of 'theory' and 'practice', concentrating specifically on the relationship between 'philosophy' and 'polities'; and, secondly, how the political theory of the eighteenth century Enlightenment is helpful in revealing an answer to the first problem. In order to encompass this dual task, the thesis is divided into three parts. Part One, 'Philosophy in its Place', delineates two trends in modern political thought that most explicitly bracket off the theoretical and the practical. It goes on to discuss the thesis of Alisdair Maclntyre in AFTER VIRTUE, that it was the Enlightenment that was, in fact, the intellectual origin of these two trends. Chapter Two of Part One, continues this discussion by considering recent adaptations of the central claims (such as that offered by Bernard Williams), and challenges to them from thinkers who emphasise the methodological importance of the history of thought (such as Maclntyre himself, and Richard Rorty). It concludes with an analysis of an issue central to the discussions of all three thinkers: incommensurability. Part Two, 'Theory and Practice in the Enlightenment’s Politics ', consists of three chapters which together offer an interpretation of the Enlightenment's reflections on the relation between theory and practice and, specifically, of the two thinkers most important for this question, Hume and Kant. The analysis also discusses rival interpretations and concentrates specifically on refuting Maclntyre's arguments in AFTER VIRTUE on the nature, character and implications of Enlightenment thought. Part Three, 'Bringing Philosophy Back In', ties these various threads together by first discussing the methodological questions set out in Part One in more detail, and then by showing how the Enlightenment's thought on this topic is still of the utmost importance for modern political theorists and why this should be so.
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Haglund, Timothy. "The Political Philosophy of Rabelais’s Pantagruel: Reconciling Thought and Action". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804944/.
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Political thinkers of the Renaissance, foremost among them Niccolò Machiavelli and Desiderius Erasmus, authored works commonly referred to as “mirrors of princes.” These writings described how princes should rule, and also often recommended a certain arrangement or relationship between the intellectual class and the political powers. François Rabelais’s five books of Pantagruel also depict and recommend a new relationship between these elements of society. For Rabelais, the tenets of a philosophy that he calls Pantagruelism set the terms between philosophers and rulers. Pantagruelism, defined in Rabelais’s Quart Livre as “gaiety of spirit confected in contempt for fortuitous things,” suggest a measured attitude toward politics. Rabelais’s prince, Pantagruel, accordingly rejects the tendencies of ancient thinkers such as Diogenes the Cynic who viewed politics as futile. Yet Pantagruel also rejects the anti-theoretical disposition of modern thinkers such as Machiavelli who placed too much confidence in politics. I demonstrate how Rabelais warns against the philosophers’ entrance into public service, and how he simultaneously promotes a less selfish philosophy than that of Diogenes. I argue that Pantagruel’s correction of his friend Panurge through the consultations of experts regarding the latter’s marriage problem shows that fortune will always trouble human life and politics. I also argue that Pantagruel’s rule over the kingdom of Utopia exemplifies a Socratic form of rule—reluctant rule—which relies on a trust that necessity (embodied in the Tiers Livre in the Pantagruelion plant) and not fortune (embodied in the Tiers Livre in Panurge’s future wife) governs the world, including the political world.
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Hallengren, Anders. "The code of Concord : Emerson's search for universal laws". Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 1994. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-14223.
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The purpose of this work is to detect a pattern: the concordance of Ethics and Aesthetics, Poetics and Politics in the most influential American thinker of the nineteenth century. It is an attempt to trace a basic concept of the Emersonian transcendentalist doctrine, its development, its philosophical meaning and practical implications. Emerson’s thought is analyzed genetically in search of the generating paradigm, or the set of axioms from which his aesthetic ideas as well as his political reasoning are derived. Such a basic structure, or point of convergence, is sought in the emergence of Emerson’s idea of universal laws that repeat themselves on all levels of reality. A general introduction is given in Part One, where the crisis in Emerson’s life is seen as representing and foreshadowing the deeper existential crisis of modern man. In Part 2 we follow the increasingly skeptical theologian’s turn to science, where he tries to secure a safe secular foundation for ethical good and right and to solve the problem of evil. Part 3 shows how Emerson’s conception of the laws of nature and ethics is applied in his political philosophy. In Part 4, Emerson’s ideas of the arts are seen as corresponding to his views of nature, morality, and individuality. Finally, in Part 5, the ancient and classical nature of Concord philosophy is brought into focus. The book concludes with a short summary.
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Clarke, John Nathaniel. "The philosophy and politics of humanitarian intervention". Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/283947.
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Moore, Erin Christine. "Between Logos and Eros: New Orleans' Confrontation with Modernity". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6073/.
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This thesis examines the environmental and social consequences of maintaining the artificial divide between thinking and feeling, mind and matter, logos and eros. New Orleans, a city where the natural environment and human sensuality are both dominant forces, is used as a case study to explore the implications of our attempts to impose rational controls on nature - both physical and human nature. An analysis of New Orleans leading up to and immediately following Hurricane Katrina (2005) reveals that the root of the trouble in the city is not primarily environmental, technological, political, or sociological, but philosophical: there is something amiss in the relationship between human rationality and the corporeal world. I argue that policy decisions which do not include the contributions of experts from the humanities and qualitative social sciences - persons with expertise on human emotions, intentions, priorities and desires - will continue to be severely compromised.
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Osborne, Peter Gordon. "The carnival of philosophy : philosophy, politics and science in Hegel and Marx". Thesis, University of Sussex, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253269.
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Lane, Melissa. "Method and politics in Plato's Statesman". Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337864.
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