Tesis: "Posthume"

1

Hardy, Sophie Jeannine. "La conscience sociale dans l'œuvre posthume de Thomas Wolfe". Paris 4, 1993. http://www.theses.fr/1993PA040015.

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Cette thèse a pour objet de cerner l'évolution de la conscience sociale de Thomas Wolfe, depuis son enfance dans le sud des États-Unis jusqu'à sa mort en 1938. Et ce à travers ses derniers romans, œuvres posthumes, The web and the rock et You can't go home again, qui démontrent une prise de conscience de la réalité sociale que l'on ne s'attendait pas à rencontrer chez un homme que son origine, ses racines et sa culture initiale prédisposaient au contraire à une étroitesse d'esprit et de pensée que sa nature généreuse et profondément altruiste parvint à dépasser
The purpose of this thesis is to retrace the evolution of the social awareness of Thomas Wolfe, starting from his childhood in the American south, until his death in 1938. And that, through his experience of the American depression, and his discovery of Nazi Germany

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2

Zribi, Isabelle. "Le sort posthume de la personne humaine en droit privé". Paris 1, 2005. http://www.theses.fr/2005PA010321.

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Si la personnalité juridique s'éteint avec la vie, semble pourtant se manifester une persistance de la personne humaine en droit privé, dont il convient de rendre compte et qu'il s'agit d'analyser. Cette étude permet de mettre au jour d'une part, la difficulté du droit privé à raisonner sans sujet de droit, et d'autre part, les manières dont il réagit dans ce cas. On pourrait penser tout d'abord qu'il serait possible d'esquiver cette difficulté, en raisonnant à partir de la transmission successorale aux héritiers des droits, actions, obligations attachés à la personne. Cependant, le modèle successoral montre sa puissance, mais également ses limites à régir ces derniers. Aussi, le droit privé fait-il saillir une présence du défunt, indépendante de toute idée de transmission, dont l'analyse semble délicate. Il convient alors de s'interroger sur la puissance et les limites de l'extension posthume des règles relatives à la personne vivante pour rendre compte de l'humanité du défunt.

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3

Talebizadeh, Jamileh. "Une blessure posthume : the garden of eden, le manuscrit d'ernest hemingway". Paris 7, 1996. http://www.theses.fr/1996PA070027.

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Ce travail, fonde sur les manuscrits du roman d'hemingway, the garden of eden, cherche a la fois a rendre compte du texte original, qui differe considerablement de l'ouvrage publie a titre posthume, et a offrir une approche psychanalyti que de ses preoccupations. La premiere partie examine le travail de l'editeur du roman qui a effectue des coupures drastiques dans le texte d'hemingway et qui, ce faisant, a ote ou obscurci une serie de questions importantes : les references a proust, le theme biblique du paradis et de la chute; la fascination pour l'oeuvre de jerome bosch et l' interet qui en decoule pour les sept peches capitaux. La deuxieme partie avance l'hypothese que la fascination pour l'androgynie dans le manuscrit est une tentative de "refus" de la reconnaissance de la difference sexuelle. Les personna ges du roman se posent constamment en membre d'un sexe "ideal" qui mele traits feminins et masculins; cependant, ils se mettent dans une position ou ils n'ont pas de sexe du tout. L'interet recurrent du texte pour l'inceste, la gemellite et le double est lie a cette tentative d'echapper a la sexualite. La blessure, la troisieme partie examine le theme de la blessure symbolique a la fois dans ce roman et dans les oeuvres anterieures d'ernest hemingway. Les divers manuscrits de the garden of eden devoile la blessure en soulignant les coupes de cheveux et les coupures de journaux. Ce theme est developpe plus profondement dans le recit africain, ou la blessure de l'elephant fait figure de condensation metaphorique de toutes les coupures presentes dans le roman. Par une complexe serie d'associations, l'elephant devient le double de tous les personnages principaux, montrant ainsi que finalement ils sont tous semblables, ce qui montre un "refus" de la castration
This study, which is based upon the manuscripts of ernest hemingway's novel, the garden of eden, seeks both to provide and account of the original text, which differs significantly from the volume that was published posthumously, and to of fer a psychoanalytic account of its preoccupation. The first part examines the work of the novel's editor, who cut hemingway's text drastically, and who, in doing so, removed or obscured a series of important issues : the references to proust, the biblical movement from paradise to its loss, the fascination with the work of hieronymus bosch and the re lated concern with the seven deadly sins. The second section argues that the manuscript's fascination with androgyny is part of an attempt to refuse to acknowledge sexual difference. The characters in the novel constantly see themselves as members of an "ideal" sex that combines masculine and feminine traits; in doing so, however, they fall into the narci ssistic position of having no sex at all. The text's recurrent interest in incest, twinship, and doubling is related to this attempt to escape sexuality. The third section, examines the issues of the symbolic wound both in this novel and in hemingway's earlier works. The va rious manuscripts of the garden of eden present the wound in terms of an emphasis on the cutting of hair and the clippin g of newspapers. The theme is developed most fully in the african story, where the wounding of the elephant serves as a metaphoric condensation of all of the cuts that have occurred in the novel. Through a complex series of associations, the elephant becomes the double of all the major characters, thus demonstratin g that they are all, finally, the same, and this sameness points to an avoidance of castration

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4

Parris, Jean-Yves. "Une contreverse politique : l'interrogatoire posthume chez les Marrons ndjuka (Surinam, Guyane)". Paris, EHESS, 2002. http://www.theses.fr/2002EHES0127.

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La conduite, le contrôle et le devenir de l'interrogatoire posthume sont des questions qui agitent les Marrons ndjuka du Tapanahoni (Surinam) depuis une trentaine d'années. Après avoir été abolie au début des années 1970, cette pratique divinatoire présentée comme ancestrale et qui vise à établir les circonstances du décès d'un individu, a récemment fait l'objet d'une volonté de réhabilitation de la part de certains clans, laissant apparaître des lignes de clivages entre les divers protagonistes de ce qui s'avera, au fil de l'enquête, être un véritable débat politique centré autour du bien-fondé de la reprise de la pratique. En adoptant un point de vue qui visait à révéler tout d'abord la nature (politique) des enjeux de cette controverse, puis à saisir les logiques de la position des villageois parmi lesquels j'ai enquêté, j'ai cherché à expliciter, de manière dynamique, les modalités de l'exercice du pouvoir chez les Marrons ndjuka. Plus largement, ce travail interroge la façon dont un système politique peut prendre appui sur des référents religieux.

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5

Talebizadeh, Jamileh. "Une Blessure posthume : The Garden of Eden : le manuscrit d'Ernest Hemingway /". Villeneuve d'Ascq : Presses universitaires du Septentrion, 1998. http://catalogue.bnf.fr/ark:/12148/cb37702156x.

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6

Sériès-Sire, Dominique. "De palimpseste en palimpseste - Itinéraire d'une œuvre posthume d'Eça de Queiroz : a Capital!" Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030057.

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L’œuvre d’Eça de Queiroz, romancier portugais de la deuxième moitié du XIXe siècle offre la particularité d’inclure davantage d’ouvrages posthumes que de publications du vivant de l’auteur. La raison en est certainement une exigence de perfection poussée à l’extrême ainsi que sa mort prématurée en 1900, à l’âge de 55 ans, laissant de côté e nombreux manuscrits inachevés. C’est sous le signe du palimpseste que ce travail se propose de revenir sur la période de « fabrication » du roman A Capital!, publié en 1925, à la lumière de nouveaux documents découverts dans les archives de la Fondation Eça de Queiroz. Il s’agit, dans un premier temps, de reconsidérer le montage effectué par les deux fils de l’auteur, José Maria et Alberto, en vue de la publication et surtout d’en mesurer les limites et les points contestables. Cela nous conduit à reconsidérer le corpus des différents manuscrits et à proposer de nouvelles perspectives. En poussant plus loin ce travail d’archéologue, cette recherche projette également d’aborder les différentes phases d’évolution de l’œuvre, au cours des sept années que l’auteur lui a consacré tout en la maintenant, par le jeu des circonstances, presque constamment au second plan. En projetant un nouvel éclairage sur les diverses arborescences de ce roman abandonné, cette analyse contribue à mettre en exergue son rôle charnière, constituant à la fois un vivier de personnages et l’émergence d’un certain nombre de thèmes prégnants susceptibles d’alimenter les œuvres suivantes
The work of Eça de Queiroz, a Portuguese novelist from the second half of the 19th century, has the particularity of including more posthumous works than publications during the author’s lifetime. The reason for this is certainly an extreme demand for perfection, as well as the author’s premature death in 1900 at the age of 55, leaving many unfinished manuscripts aside.This work proposes to revisit the period of the “fabrication” of the novel A Capital! published in 1925, in light of new documents discovered in the archives of the Eça de Queiroz Foundation, under the sign of the palimpsest. It is first necessary to reconsider the editing carried out by the author’s two sons, José Maria and Alberto, with a view to publication, and above all to measure its limits and contested points. This leads us to reconsider the corpus of the different manuscripts and to propose new perspectives. By delving deeper into this archeological work, this research also aims to address the different phases of evolution of the work, over the seven years that the author devoted to it, while keeping it, by the play of circumstances, almost constantly in the background. By shedding light on the various branches of this abandonned novel, this analysis helps to highlight its pivotal role, constituting both a breeding ground for characters and the emergence of a number of prevalent themes that may feed into subsequent works

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7

Cazajus, Myriam. "L’anticipation dans la transmission des entreprises : aspects civils". Thesis, Toulouse 1, 2013. http://www.theses.fr/2013TOU10075/document.

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À l’origine, le droit civil ne s’intéressait que peu aux entreprises, et uniquement en tant qu’unités patrimoniales. Ayant à traiter de successions en comprenant, il s’est progressivement sensibilisé à leurs spécificités, et notamment à la poursuite de leur activité, et à leur sort en général, l’unité évoluant ainsi vers l’entité. L’intégration de l’entreprise en droit civil est aujourd’hui constatée. L’effort majeur du législateur, dont témoigne la loi du 23 juin 2006, y a largement contribué. Parallèlement, le droit des affaires a vu se diversifier les formes d’exploitation : aux côtés de l’entreprise individuelle et de la société, le chef d’entreprise peut désormais opter pour le statut d’EIRL et adopter l’exploitation sous forme de patrimoine affecté. Les techniques civilistes sont par ailleurs animées d’une vocation anticipatoire qu’il a semblé primordial de confronter aux enjeux majeurs de la transmission des entreprises afin de juger de l’opportunité de leur utilisation dans ces opérations qu’il convient de faciliter. Certaines, qualifiées de techniques de transmission anticipée, offrent la possibilité de réaliser, par avance dans le temps, la transmission de la « propriété de l’entreprise ». Leur étude a permis de préciser l’appréhension du concept d’entreprise endroit civil, qui diffère quelque peu de la vision commercialiste. La donation-partage se révèle particulièrement en adéquation avec les objectifs ci-avant visés. D’autres techniques d’anticipation de la transmission se présentent comme des outils performants pour gérer l’exploitation de l’activité de l’entreprise en transmission. Leur spécificité est de différer la transmission de la gestion de celle de la propriété de l’entreprise considérée. C’est le cas du démembrement de propriété, qui bien qu’imparfait du point de vue légal, peut conventionnellement être ajusté à de nombreuses opérations de transmission aussi bien à titre gratuit, qu’à titre onéreux. De plus, le mandat à effet posthume permet de pallier le retrait involontaire du chef d’entreprise et l’incapacité temporaire du repreneur désigné. Enfin, la fiducie n’est pas adaptée, mais une réforme permettrait d’en faire un outil à la fois de transmission anticipée et d’anticipation de la transmission de l’entreprise
By merely considering businesses as patrimonial unities, civil law did not focus much on them originally. However, businesses forming part of inheritances, civil law had to progressively take them into consideration and adapt to their specificities, including in particular their need for continuity, thus letting them evolve from the concept of unities towards that of legal entities. Nowadays, civil law has fully apprehended businesses, notably in light of some significant contributions from the legislator such as the recent law dated June 23, 2006. In parallel business law has been multiplying the legal forms under which to operate businesses : in addition to possibilities offered by either of the sole proprietorship or company status, entrepreneurs may now also opt for the form of a sole proprietorship with limited liability (« SPLL »),thereby creating a distinct estate dedicated to the relevant business. Civil law means and techniques being generally proactivelly oriented, it appeared essential to confront them to the major challenges triggered by the transmission of a business so as to assess the opportunity of their very use as part of these operations, which must be facilitated as much as possible. Some of these techniques, known as anticipatory transmission, allow to achieve in advance the passing over of the ownership of a business. Their study has in turn fine tuned the concept of business undertakings under civil law, which slightly differs from that generally accepted under business law. Inter vivos distributions (donation-partage) appear to be particularly adapted to the above described objectives. Other existing techniques of anticipatory transmission may also be considered as useful means to manage the running of a business which is being transmitted. Their specificity is to distinguish the transmission of management from the transmission of the relevant business ownership. This is notably true for the dismemberment of ownership which, while not always perfect from a legal perspective, may be contractually adjusted so as to fit various different types of transmissions, whether gratuitous or for consideration. Moreover, post-mortem agency allows to compensate for both the involuntary stepping down of an entrepreneur and the temporary incapacity of his/her successor. Finally, whereas trusts may not currently be adapted, a legal reform would permit to use them both as an effective tool for ensuring anticipatory transmissions and for anticipating the transmission itself of a business

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8

Gasnier, Maurice. "La destinée posthume de Renan de 1892 à 1923 : essai sur une réception idéologique". Brest, 1988. http://www.theses.fr/1988BRES1005.

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L'oeuvre de Renan a donné lieu de 1892 à 1923 à de multiples interprétations, tributaires de trois idéologies : celles de la république, de l'église et de la droite révolutionnaire. La république honore Renan pour avoir sapé, au nom de la science, les fondements de la religion, contre la puissance politique de laquelle les républicains doivent lutter pour affermir leur régime. L'église catholique, après avoir avec virulence condamné Renan fera de lui l'initiateur du modernisme. Les églises juive et protestante, malgré des reserves, reconnaîtront ses mérites. Calomnié par les cléricaux et la presse conservatrice, rRenan devient le propagateur d'une maladie nouvelle, le dilettantisme, et à la fin du siècle, les tenants du renouveau spiritualiste s'opposeront à sa pensée. Son scientisme, son souci d'éducation et son individualisme aristocratique placent Renan du côté des républicains élitistes. Les bien-pensants l'accusent d'être anarchiste. La droite révolutionnaire veut en faire son maître à penser mais le rejettera pour sa germanophilie, son philosémitisme et son décadentisme prétendu. La république avait trouvé dans la pensée de Renan un moyen d'affermir son idéologie, d'où le réductionnisme dont participe la lecture que les républicains-et les autres-firent de cette oeuvre
The work of Renan resulted, between 1892 and 1923 in a number of interpretations, paying tribute to three ideologies : those of the republic, the church and the revolutionary right. The republic honoured renan for having weakened, in the name of science, the foundations of religion, against whose power the republicans had to struggle to strengthen their regime. The catholic church, after having violently condemned Renan, made of him the initiator of modernism. The jewish and protestant churches, despite some reservations, recognized his merits. Slandered by the clericals and the conservative press, renan became the propagator of a new sickness, dilettanteism, and, at the end of the century, the partisans of the renewal of a spiritual philosophy opposed his philosophy. His scientism, his desire to educate and his aristocratic individualism put Renan on the side of the elitist republicans. The bourgeoisie accused him of being an anarchist. The revolutionary right wanted to make him its intellectual leader but then rejected him as a germanophile, as a pro-semite and for what it alleged was his decadence. The republic found in Renan's philosophy a means of strengthening its own ideology whence the partial reading given to his work by the republicans-and others

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9

Avezou, Laurent. "La légende de Richelieu : fortune posthume d'un rôle historique du XVIIe au XXe siècle". Paris 1, 2002. http://www.theses.fr/2002PA010655.

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La légende de Richelieu permet d'appréhender ce personnage comme un rôle historique instrumentalisé. Après Mazarin, les polémiques s'estompent, tandis que s'affirment une historiographie cardinalice et une anti-mémoire nobiliaire. De 1688 à la Révolution, si l'héritage de Richelieu est âprement discuté par les historiens, le débat prend plutôt la forme de querelles d'érudits. La Révolution est une rupture, puisque le Cardinal en est considéré comme un précurseur, au XIXe siècle, qui voit s'épanouir une littérature foisonnante, laquelle relaie des débats historiographiques heurtés. L' après-1870 change les données en promouvant Richelieu comme artisan des frontières naturelles et de la colonisation. Tandis que le cinéma pérennise le legs littéraire, 1 'héritage est recomposé autour du principe patriotique. Mais ce rôle historique est plus cathartique que consensuel: Richelieu est un ange de discorde qui nivelle tout et indique le chemin douloureux conduisant à la France contemporaine

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10

Gasnier, Maurice. "La Destinée posthume de Renan de 1892 à 1923 essai sur une réception idéologique /". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37613837v.

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11

Tilly, Georges. "Un manifeste posthume de l'humanisme aragonais : le De hortis Hesperidum de Giovanni Pontano De hortis Hesperidum". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR084.

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La thèse étudie le dernier poème écrit par l’humaniste Giovanni Pontano (1429-1503) au tournant du XVIe siècle, le De hortis Hesperidum, une géorgique sur les jardins d’agrumes. Plusieurs chapitres de description de l’œuvre puis une étude historique et pluridisciplinaire s’attachent à jeter de la lumière sur ce testament méconnu de l'humanisme napolitain. Le poème est tout d’abord considéré au regard des diverses lectures qui en furent faites depuis son origine jusqu’à nos jours et, en particulier, de son influence sur la littérature de l’âge classique en Europe. Puis on mène un examen de la versification du poème, de l’histoire du texte et dans l’étude de ses différents témoins, on établit les principes de l’édition qui figure en fin d’ouvrage. Comme le De hortis Hesperidum est le premier texte moderne à suivre la leçon de Virgile en matière de poème didactique, l’étude s’emploie ensuite à dévoiler les ficelles de la recréation du genre géorgique à l’aube de l’époque moderne, en y examinant les formes de narration, le rôle des digressions dans le texte, la présentation du dédicataire et du dédicant. Mais le De hortis Hesperidum est aussi un poème scientifique d’un intérêt précoce pour les agrumes dont il établit les variétés et dont il décrit précisément la culture, avec un tropisme certain pour les jardins d’apparat dont il présage la vogue au XVIe siècle à Naples comme dans toute l’Italie : on y découvre les prémices du jardin maniériste. Ce poème est enfin la peinture d’une vie académique et aristocratique élevée en un idéal que le poète cherche à préserver du tumulte des guerres d’Italie. En complément de l’étude, cette thèse présente la première traduction française intégrale du texte ainsi qu’une nouvelle édition à l’orthographe restituée d’après l’unique manuscrit connu
The present thesis studies the last poem written by the humanist Giovanni Pontano (1429-1503) in the latefifteenth century/beginning of the sixteenth century : De hortis Hesperidum, a georgic on citrus gardens.Some descriptive chapters, followed by a more analytical and multidisciplinary study, cast light on thisoverlooked testament of Napolitan humanism. The poem is at first considered through its various readingsover time and in particular through its influence on the literature of European classical age. Then, theversification and the textual history of the poem are assessed and the principles of the current edition areestablished, thanks to a careful examination of its testimonies. Since De hortis Hesperidum is the first moderntext to imitate Vergil’s way of composing didactic poetry, the study deciphers the recreation of the georgicgenre at the begining of the modern period, by considering narrations patterns, digression’s role, the way ofpresenting the dedicatee or the poet himself. De hortis Hesperidum is also a scientific poem that demonstratesan early interest for citrus trees, by establishing their varieties and describing their culture, with an obviousattraction for ornemental gardens that foreteils their popularity in sixteenth century Naples and Italy,foreshadowing the beginnings of manierist gardens. Finally the poem pictures the aristocratical life of thePontanian academy. It gives the aspect of an ideal time, kept safe from the commotion of the Italian wars,thanks to the poet. In addition to this study, the thesis countains the first complete French translation of thetext and a new edition in which spelling has been corrected on the only known manuscript of the poem

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Phili, Christine. "La théorie des fonctions analytiques de Lagrange : origine, formation, apogée, déclin et influence posthume d'une théorie mathématique". Paris, EHESS, 1988. http://www.theses.fr/1988EHES0340.

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La théorie des fonctions analytiques de Lagrange (1797) se situe dans le cadre d'un mouvement pour la rénovation de l'analyse. Sa première publication en 1754, ses lettres à Euler et à Fagnano, contiennent le germe de sa théorie. Dans ses cours à Turin, il utilise des identités algébriques. Lagrange dans le mémoire de 1772, présente la série de Taylor, comme l'outil opérationnel qui lui permet d'avoir la fonction dérivée u'. Carnot et L'huilier qui ont participé au concours de l'académie de Berlin, n'ont pas pu contribuer au renouvellement de l'analyse. Condorcet dans son traite inédit lance le terme fonction analytique, tandis que Arbogast en 1789 présente un mémoire, écho lointain des concepts lagrangiens. L'enseignement à l'Ecole polytechnique oblige Lagrange à revenir à ses anciennes idées. Les minorations, les majorations et l'évaluation du reste de la formule taylorienne élèvent Lagrange en un prophétique mathématicien du XIXe. Cependant Hoene-Wronski avec ses outrances et ses mérites a attaqué cette théorie. Apres la disparition de Lagrange en 1813 les efforts menés vers une plus grande rigueur dans la présentation des principes de l'analyse amènent un recul progressif de l'influence de cette théorie, avec Crelle, Bolzano, Cauchy. Néanmoins une résurgence partielle des idées de Lagrange apparait dans l'œuvre de Meray.

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13

Madeddu, Silvia. "De Venise à Milan : le retour de Federico Zandomeneghi (1841-1917) en Italie : des années de jeunesse à la redécouverte posthume". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040180.

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Federico Zandomeneghi (1841-1917) a toujours été considéré comme un artiste vénitien ayant émigré en 1874 à Paris avant de devenir un adepte de Degas et participer, à partir de 1879, aux expositions impressionnistes. Cette recherche a pour principal objectif d’analyser les liens que l’artiste entretint avec son pays - l’Italie - avant, pendant et après son long séjour parisien. Aussi nous sommes-nous plus particulièrement concentrée sur la période allant de 1841 à 1874 durant laquelle Zandomeneghi se forma dans les Académies de Beaux-Arts de Venise et Milan, avant de partir s’installer à Florence où il rencontra les peintres macchiaioli. Nous avons en outre analysé le contexte artistique italien dans lequel l’artiste évolua, et aussi dans quelle mesure les rapports qu’il tissa avec les nombreuses personnalités du monde de l’art qu’il eut l’occasion de fréquenter (Diego Martelli, Marcellin Desboutin) eurent une influence sur les choix qu’il fit par la suite ; puis, nous avons essayé de décrire la position que Zandomeneghi s’était gagnée sur le sol italien avant de le quitter définitivement. La seconde partie de notre recherche retrace en revanche - grâce à l’analyse d’un corpus de lettres inédites - le processus de réévaluation critique qui s’amorça en Italie après la mort de l’artiste et pour lequel œuvrèrent Enrico Piceni et Angelo Sommaruga : ces critiques et marchands d’art milanais ont en effet joué un rôle fondamental dans la redécouverte de Zandomeneghi en Italie. Même si Zandomeneghi avait passé quarante-trois années de sa vie en France, il ne réussit jamais à conquérir sa place dans l’historiographie française alors que, pour la seconde fois, il jouit des honneurs de la critique italienne. Cette recherche a pour objectif de mettre en lumière les raisons du cadrage historiographique dominant à l’heure actuelle, à savoir celui qui ne voit en Zandomeneghi qu’un peintre impressionniste vénitien, étiquette sous laquelle il a d’ailleurs été proposé au public à l’occasion des expositions plus récentes
Venetian Federico Zandomeneghi (1841-1917) is always remembered as an artist who relocated to Paris in 1874 to become a follower of Degas, taking part in the Impressionist exhibitions starting in 1879. The primary objective of this thesis is to analyse this artist's ties to Italy, before and after his long-lasting experience in France. We delve into the period starting in 1841 and lasting until 1874 during which Zandomenegi trained at the academies of Venice and Milan, and during which he moved to Florence, at which point he first encountered the Macchiaioli. Moreover, this study has given us the opportunity to deepen our understanding of the Italian artistic context in which Zandomeneghi developed, to what extent his close relatonships with the numerous artists he encountered affected his later artistic choices (Diego Martelli, Marcellin Desboutin), and what position Zandomeneghi attained in Italy before leaving his country permanently. In the second part of the present study, a corpus of unpublished letters between two Milanese art personalities, the art critic Enrico Piceni and art dealer Angelo Sommaruga, was thoroughly examined. Their role was indeed crucial for Zandomeneghi’s artistic rediscovery. Although Zandomeneghi spent 43 years of his life in France, he was never fully recognized in the French historiography, whereas was acclaimed for the second time by the Italian critic after his death. This thesis aims to shed light on the reasons why Zandomeneghi has always been considered a Venetian impressionist, a label that has been employed even in very recent expositions

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14

Morethe, Louis-César. "'Citadelle' d’Antoine de Saint Exupéry : poème ou oeuvre de philosophie ? : réception et étude du statut générique de l’oeuvre posthume de l’écrivain aviateur". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC038.

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Dès sa parution, Citadelle, considéré(e) par Saint Exupéry comme l'œuvre de sa vie reçut un accueil sinon glacial, du moins mitigé. « Son mélange de lyrisme à de vagues considérations philosophiques » fut dénoncé par la Critique et quelques années plus tard, les Universités françaises et étrangères se scinderont en plus ou moins deux grands mouvements d'interprétation de l'œuvre : l'un, majeur en France, voyant en Citadelle un Poème et en Saint-Exupéry un Poète, l'autre une œuvre avant tout philosophique, voire de Philosophie, et en Saint Exupéry, un Philosophe qui s'était ignoré. En conséquence, cette thèse étudie tout d'abord la Réception Critique de Citadelle tant en France qu'à l'étranger. Afin de tenter de comprendre ces divergences d'opinions quant au positionnement de l’œuvre au sein de la généricité, la seconde partie s'attache à essayer d'éclairer le dernier Art Poétique exupéryen tout en montrant l'originalité de cette démarche scripturaire qui repose sur deux composantes essentiellement liées : conceptuelle tout autant que figurative et symbolique, que la Critique semble n'avoir eu de cesse d'opposer l'une à l'autre dans son interprétation. La troisième partie de cette thèse tente une réponse nouvelle à la lumière des éléments précédents afin de déterminer dans quelle mesure Citadelle - qui est assurément un Poème au sens exupéryen du terme - peut être considérée comme une œuvre de Philosophie, au regard non seulement de l’Histoire de la Philosophie mais encore de ce qui ferait la / les spécificité(s) discursive(s) du texte produit par « la Philosophie ». Enfin, afin de saisir l'origine de quelques concepts fondamentaux dans la pensée de l'auteur, éclairant tant sa démarche scripturaire que l'originalité de cette œuvre incomprise et insuffisamment étudiée, nous traitons de Saint-Exupéry lecteur de quelques Philosophes majeurs
As soon as it was published, Citadelle, considered by Saint Exupéry as the work of his life, received a mixed reception."Its mixture of lyricism to vague philosophical considerations" was denounced by the Critique and a few years later, the French and foreign universities split into more or less two major movements of interpretation of the work : one, major in France, which judged Citadelle as a Poem and Saint-Exupéry as a Poet, and the other which deemed it as a philosophical work above all, or even of Philosophy, and Saint Exupery as a proper Philosopher (with no academic experience). As a result, this thesis studies first Citadelle’s Critical Reception both in France and abroad. In order to try to understand these differences of opinion as to the positioning of the work within the genericity, the second part tries to enlighten Saint-Exupéry’s last Poetic Art, while showing the originality of this scriptural step which rests on two essentially related components : conceptual as well as figurative and symbolic, which the Critique seems to have constantly opposed to one another in its interpretation.The third part of this thesis attempts a new answer in the light of the preceding elements in order to determine to what extent Citadelle - which is certainly a Poem in the Saint-Exupéry sense of the term - can be considered as a work of Philosophy, in the light not only of the History of Philosophy but also what would make the discursive specificity (ies) of the text produced by "Philosophy". Finally, in order to understand the origin of some fundamental concepts of the author's thought, which illuminates both his scriptural approach and the originality of this misunderstood and insufficiently studied work, we deal with Saint-Exupéry as a reader of some major philosophers

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15

Bourrié, Eve. "Le volet fiscal de la loi n°2006-728 du 23 juin 2006 et la réforme des successions et des libéralités". Thesis, Montpellier 1, 2012. http://www.theses.fr/2012MON10042/document.

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La loi du 23 juin 2006, entrée en vigueur le 1er janvier 2007, poursuit trois objectifs principaux, de simplification, de sécurisation du règlement des successions et de protection des héritiers. Elle comprend deux volets le premier sur les successions et le second sur les libéralités. Cette loi est une nécessaire adaptation aux nouvelles évolutions démographiques et sociologiques (allongement de la durée de la vie, augmentation du nombre des familles recomposées et présence d'enfants non communs) et permet d'augmenter la liberté de partage du disposant, notamment dans la transmission des entreprises, un véritable problème en france. Cette loi, objet de plusieurs décennies de réflexion, fournit de nombreux outils modernes, mais présente toutefois des lacunes, soit que le législateur ne semble pas être allé jusqu'au bout de sa réforme et que les outils sont incomplets, soit que ces derniers sont déjà concurrencés par d'autres outils existants. Ces lacunes devront être complétées pour que la loi du 23 juin 2006 reste, pour longtemps, une loi toujours moderne et bien adaptée aux transformations rapides de notre société
The law of June 23rd, 2006, which entered into force on January 1st, 2007 has three main objectives, simplifying and securing inheritance agreement and protection of heirs. It consists of two components: successions and liberalities.This law is a necessary adaptation to the new demographic and sociological changes (increased life expectancy, increasing numbers of reconstituted families and step-children), increasing the freedom to share, which is, especially in the transmission of companies, a real issue in France.This law, the subject of several decades of thinking, provided many modern tools, but it does have some gaps, either because the legislator has not gone far enough with the reform and the tools are incomplete, or that they are already in competition with other existing tools. These deficiencies must be completed so that the law of June 23rd, 2006 remains for a long time, a law still modern and adapted to rapid changes in our society

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16

Aniello, Hélène. "De l'usage du mandat dans le cadre de la famille". Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC0105.

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Mécanisme de remplacement par excellence, le mandat apparaît comme une technique universellement utilisée. S'il avait déjà pu faire la preuve de son utilité par le passé, le mandat a bénéficié d'une faveur renouvelée ces dernières années, en particulier dans le cadre des relations familiales. Depuis 2001, en effet, des réformes majeures se sont succédé dans de nombreux domaines du droit des personnes et de la famille. Or, ce mouvement de réforme encourage le recours au contrat de mandat pour servir de cadre juridique à une intervention spécifique en vue de gérer les intérêts de la famille. La place ainsi faite au mandat s'inscrit dans une tendance législative de grande ampleur qui tente d'adapter le droit familial à l'évolution de la société. Or, à bien observer le mandat dans la famille, on constate qu'un phénomène d'interaction se produit. D'un côté, si l'on recense les différentes applications du mandat, on s'aperçoit qu'elles ont pour point commun de permettre d'anticiper ou de résoudre les difficultés de gestion du patrimoine de la famille, ou même de la personne de ses membres, pouvant survenir au cours de la vie ou après la mort. Le mandat réalise en quelque sorte la mise en forme juridique des solidarités familiales qui s'expriment à ces occasions. Mais, allant au-delà, il contrarie par sa présence l'ordonnancement habituel des rapports familiaux. D'un autre côté, le contexte dans lequel il intervient - la famille - a des incidences sur le contrat de mandat. Parce qu'il naît alors dans des circonstances tout à fait particulières, il n'est plus strictement régi par les règles qui le gouvernent communément. C'est pourquoi, bien que les mandats familiaux demeurent soumis au droit commun du mandat, ils présentent des particularités notables relativement à leur conclusion, leur exécution, ainsi qu'à leur dénouement. Par conséquent, la présence du lien de famille module le régime ordinaire des droits et obligations résultant du mandat
The power of attorney profited from a renewed favour these last years, in particular within the family relations. Since 2001, indeed, of the major reforms followed one another in many fields of the right of the people and the family. This movement of reform encourages the recourse to the power of attorney to be used as legal framework for specific interventions in order to manage the interests of the family. Place thus made for the power of attorney falls under a legislative trend which tries to adapt the family right to the evolution of the society. However, with observing the power of attorney in the family setting, one notes that a phenomenon of interaction occurs. On a side, the various applications of the power of attorney have as a common point to make it possible to anticipate or solve the difficulties of management of the estate of the family, or even of the person of it members, that can occur during the life or after death. The power of attorney shapes family solidarities which are expressed on these occasions. But, going beyond, it thwarts by its presence the usual scheduling of the family reports. On another side, the context in which it taxes place - the family - affects the power of attorney. Because it is born then in completely particular circumstances, it is not strictly governed by the rules which control it commonly. This is why, although they remain governed by the common right, in the family setting, the powers of attorney present notable characteristics as for their conclusion, their execution, and their outcome. As a consequence, the presence of the family link modulates the ordinary rights and obligations resulting from the power of attorney

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17

Varet, Vincent. "La protection des oeuvres posthumes". Paris 2, 1996. http://www.theses.fr/1996PA020039.

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Les oeuvres de l'esprit publiees pour la premiere fois a titre posthume font l'objet, au sein de la legislation francaise relative a la propriete litteraire et artistique, d'un regime de protection specifique. C'est egalement le cas dans nombre de legislations nationales. La directive europeenne d'harmonisation relative aux durees de protection du droit d'auteur et des droits voisins comporte aussi des dispositions particulieres a cette categorie d'oeuvres. Neanmoins, le degre de specificite de la protection est variable, et merite une etude approfondie. Ainsi, en droit francais, la nature juridique du droit confere, a parfois ete decrite comme celle d'un droit voisin. Mais cette proposition peut etre precisee. Pour cela, il est souhaitable de la confronter a l'ensemble des caracteristiq ues de la protection "speciale". C'est pourquoi l'objet de cette these est de determiner, dans un premier temps, les conditions d'application de cette protection, pour, dans un second temps, en analyser le contenu, c'est-a-dire a la fois la nature et la teneur. Cette demarche n'est pas limitee au droit francais. Le regime de protection specifique mis en place au niveau europeen a vocation a s'integrer au droit interne de chacun des etats membres. Il semblait donc interessant de mener parallelemen t l'analyse pour le droit francais existant, le droit compare, et les dispositions de la directive europeenne et du projet de loi qui organise la transposition de cette derniere dans l'ordre juridique interne francais. Une telle perspective permet de mesurer l'importance des changements eventuels, de discuter leur valeur, de proposer des alternatives et des solutions aux conflits de lois dans le temps que de tels changements ne manqueront pas de creer. Elle autorise une reflexion sur le mode d'elaboration du droit communautaire, desormais partie integrante de notre ordre juridique, et dont la specificite merite l'attention
In the french legislation relating to "copyright", a specific scheme of protection applies to works of creation which ar e first published after the death of their author. It is also the case in numerous other national legislations. The european directive harmonizing the term of protection for author's rights and related rights comprises particular provisions relating to this type of works as well. Nevertheless, the degree of the protection's specificity is variable, and deserves a detailed study. Thus, in french law , the legal nature of the confered right was sometimes described as one of a related right. But this proposal should be cleared. For that purpose, it would be efficient to confront it with all the characteristics of the specific protection. Hence, the object of this thesis is, first, to determine the requirements for protection in order to be able to analyse, secondly, its legal nature and its terms. This process is not only limited to french law. The specific scheme of protection settled at the european level should be integrated in each national law of member states. So, it seems relevant to analyse at the same time the existing french regulation, the different national laws, and the provisions respectively of the european directive and of the dra ft regulation relating to its implementation through french law. Such a perspective permits to assess the importance of the possible changes, to discuss their value, and to suggest othe r options and solutions to conflicts of laws that would rise from such changes. This perspective enables further considerations upon the making-out of the european regulation, the specificity of which should be carefully examined

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18

Collins, Travis John. "Posthuman memories". Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457041010/viewonline.

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19

McClellan, Serena Eva. "Life and the Posthuman". Thesis, Curtin University, 2021. http://hdl.handle.net/20.500.11937/84913.

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This thesis addresses the posthumanist problem of reconfiguring what and how the post/human means, rereading foundational binaries like human/nonhuman and life/nonlife as texts in themselves with a thickness that strains against the discursive structures that produce (and reduce) them as such. It attempts to petromorphically portray stone worlding without reverting to the assumed capacities of living (human) beings, suggesting a worlding that identifies the forces and intensities out of which “being,” stone and otherwise, emerges.

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20

Toffoletti, Kim 1975. "Transformations : feminism and the posthuman". Monash University, Centre for Women's Studies and Gender Research, 2002. http://arrow.monash.edu.au/hdl/1959.1/7887.

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21

Gee, Maxine F. "Posthuman noir : creating positive posthumans". Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/19684/.

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Posthuman noir is a new subgenre I have identified at the intersection of posthuman science fiction and traditional film noir. In this thesis, I establish the defining features of this new subgenre; explore its antecedents in the body of films labelled as film noir and in the philosophical concepts of transhumanism and posthumanism; and examine the way the subgenre privileges two human traits — emotional awakening and storytelling ability — arguing that these intangible traits act as essential definers of what it is to be human in the posthuman future. In this thesis, I argue that this subgenre explores what it is to be human through adapting or subverting the tropes found in traditional film noir. My creative practice methodology seeks to explore a non-hierarchical approach to knowledge production, through chapters which interlink academic scholarship with my creative practice of screenwriting. Through figuring the screenplay as a posthuman text evolving towards becoming-film, and through channelling myself as a cyborg-screenwriter, my creative practice — an expression of the human storytelling ability which aims to generate an emotional awakening in the reader — aims to mirror the themes around these essential human traits within the subgenre. Therefore, the reader is encouraged to engage both their emotional and rational thinking processes when reading the thesis; it is this balanced combination, which reflects human thought processes, that is validated within the subgenre. It is particularly pertinent to discuss this subgenre at this present moment as human beings are on a rapid path to becoming posthuman, if we aren’t already there, as critics like N. Katherine Hayles argue. However, I posit that this subgenre has a conservative impulse which seeks to maintain an anthropocentric view of the future and validates humanistic notions of the human rather than pushing a posthumanist vision.

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22

Garcia, Rebecca Ann. "COMING OUT OF THE COFFIN AS THE POSTHUMAN: POSTHUMAN RHETORIC AND HARRIS’ SOOKIE STACKHOUSE SERIES". CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/400.

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In this article, I argue that the vampires in Charlaine Harris’ Sookie Stackhouse novels illustrate clearly the posthuman self in its connection beyond itself to other vampires, humans, and non-humans. Learning to co-exist becomes problematic in Harris’ series, where we encounter a “new” representation of vampire. These vampires have come out of the coffin, and their revelation allows us to explore how they can be viewed in connection to the human world and how their transcendence can be seen as a move toward posthumanism, as its particular blend of body and community help demonstrate what the self expanded could be. As a species that differs from us “typical” humans and yet must co-exist with us and other non-humans, the posthuman provides a theoretical framework for how we can approach this new representation as a disembodied non-unitary subject. Through their transcendence from the world of the living to the life of the undead, these vampires let us see humanity as a distinct moment in evolution that is a continuous process, not a resolution. There are six areas where we see these common characteristics between posthumanism and Harris’ vampires. The first is the vampire being represented as an other. Like the posthuman, Harris’ vampires are juxtaposed against the human population and because vampires are marked as other this creates tension where they must co-exist with humans and yet still be examined from an anthropocentric perspective. Another way the posthuman allows us to interpret this fear of vampires is from the position of the de-centered human. Because humans prior to the “great revelation” in Harris’ fictional world, believed themselves to be what defined humanism versus their non-human others; they must shift in where they are located on the species podium due to vampires and that creates a fear. Another correlation is that of immortality; which is what vampires inherit when they become a member of the undead, but for the posthuman it is encoding and dematerialization that allows us to transcend these mortal bodies. This notion of disembodiment demonstrates the body being a rhetorical strategy to create an effect, such as manipulation. Since the body for the posthuman is seen as materiality and therefore they are not embedded to only exist within it, the vampire likewise is able to exploit the body in order to accomplish its purpose. Next for the posthuman, transcendence is the way they not only become immortal, but also how they move from identifying as individuals to identifying as part of a larger community. For the vampires in the Stackhouse series, their consciousness lies in their information and not in their material bodies, thus they are able to situate themselves within the larger network with other vampires, humans, and non-humans. And lastly the connection through the exchange of blood, which for the vampire is a literal connection, but for the posthuman is instead an ideal network which removes individuality.

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23

Galati, Gabriela. "Duchamp meets Turing : art, modernism, posthuman". Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6609.

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In her book How We Became Posthuman (1999), Katherine Hayles analysed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital. This process, however, was not innocuous: it made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge, a process that Hayles contends originates in the Macy Conferences and the evolution of cybernetic theory. This research identifies an analogous process within the artistic realm: when Clement Greenberg delineated the concepts of opticality and colour field as the main characteristics that “defined” Modernist painting, he conceived of these in a purely disembodied subject (Krauss 1993). In this context, this work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman, tracing its origin to Marcel Duchamp and his invention of the readymade, and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research will question. A first aim of this work will be to unify the main concepts and theories of the artistic field with those of cybernetics, to bring together ‘Turing land’ and ‘Duchamp land’ (Manovich 1996). For achieving this, digitalisation processes are not to be understood as representations of some material reality, but rather as ontological repetitions through which difference is conveyed. This is why the consideration of the temporal dimension of the archive as event is fundamental for understanding that the archive can only exist in its change, in its movement, in its action, in its metamorphosis, and thus the relevance of digitalisation processes in this regard becomes evident. Therefore, the archive is not only an issue of memory, but also a question yet to come, of conformation both of the future and subjectivities (Derrida 1967b, 1995). In this context, the present work advances the emergence of a digital subject with the emergence of new media, and theorises that the constitution of this subject happens by assuming a ‘point of view’ (Deleuze 1988) in the technological unconscious (Vaccari 1979). Reflecting upon the effects of digitalisation and actualisation (Deleuze 1968) on the subject, on how the digitised artwork and event affects, and changes, the subject observing and interacting with it, the present research will demonstrate that it is pertinent to talk about a subject who is embodied in the digital. In this sense, if the digitised artwork in the archive needs a subject to be actualised, this process also has its consequences for the subject. Therefore, the digital subject is the possibility of actualisation of the archive, and at the same time changes with it: she assumes an always-different ‘point of view’ constituted for her by the floating signifier in the technological unconscious. All these theories, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large.

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24

Mason, Julia L. "Net/Work: Composing the Posthuman Self". [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002513.

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25

Shakeshaft, Richard. "Finding the 'human' in the 'posthuman' : the representation of the technologically enhanced posthuman in Young Adult fiction". Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/288074.

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Technology has become an increasingly significant element of humans' lives in recent years, and it continues to shape them in ways hitherto only imaginable in science-fiction. Moving beyond humanism, the human/technology relationship has caused the question of what it means to be human to be considered through posthuman thought. I see the reality of technology's effect on human lives giving rise to the figure of the posthuman, in which aspects of the human are replaced or enhanced by technology. Through the posthuman subject, I propose the idea of a postchild and the notion of a posthuman trialism as new ways in which to examine representations of posthumans. Texts aimed a teenage readers frequently offer perspectives on questions of identity formation and the need for adolescent protagonists to find their place in the world. I use a range of young adult texts, with a variety of different types of posthuman protagonists written over the past twenty years, to explore how the posthuman is represented through the narratives, and how power structures and ideologies are conveyed. Through my analyses I demonstrate that, despite technology's apparent superiority, it is human qualities that remain more important in the posthuman, although the extent to which the human is prioritised depends on the way in which technology is employed. My findings provide a clear illustration of how teenage readers are being shown about the ways in which technology can be used and viewed in their lives, and how the human/technology relationship may shape their lives. While the presentations do not portend the dystopian vision of the future still prevalent in many people's minds, they stress the need for humans' use of technology to be questioned by its users and those with power in societies. My new approaches to the posthuman also mean that my work gives ways in which representations of the posthuman in any media can be critically examined.

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26

Wilde, Poppy. "I, Posthuman : embodying entangled subjectivities in gaming". Thesis, Coventry University, 2017. http://curve.coventry.ac.uk/open/items/d9a5b3c4-48a5-4c5f-b656-3f8aaa9de8d4/1.

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We live in an era where the fundamental principles of what it means to be human are being reconsidered and reconceptualised, and we are moving towards a more entangled and relational understanding of the human’s ontology. The “boundaries” of what constitute a human as separate from both its surroundings and human and non-human others are being problematised. How do you separate “the human” from its contexts? In an age where advanced technology often constitutes these contexts, how can you separate the human from technology? Whilst we have always been entangled, today this occurs in a context that is more technologically driven, and this has provoked further debate on the status of the “posthuman”. This PhD thesis is concerned with what it means and how feels to be posthuman, by exploring how posthuman subjectivities are enabled and embodied. What we are capable of doing emerges contextually: it is profoundly dependent on our environments. In my view of the posthuman, the stable “human” self is disrupted, giving way to a subjectivity where our interactions in the world are more intra-active. But how might we consider the emergence of posthuman subjectivities in more depth? I suggest using a particular example of posthuman subjectivity, the MMORPG avatargamer, to demonstrate how the humanistically separated entities of “avatar” and “gamer” can provide a context to explore how “other” and “self” are not ontologically distinct. In doing so, I ask: what specific practices enable or provoke this ontological entanglement? Engaging in an autoethnographic inquiry, I use my intra-action with my avatar Etyme in the MMORPG World of Warcraft as one example of posthuman subjectivity. This methodology in itself is intriguing to explore the multiplicity of selves we experience, and negotiates the humanistic overthrows of “selfhood” whilst experiencing the self as entangled. Through my construct of the posthuman, where the human cannot be meaningfully separated from its environment, we are nevertheless still drawn to speak of an “I” and have a desire to understand ourselves as independent agents. However, the fieldnotes analysed in this thesis disrupt the “I”, and instead reflect on the shifting sense of self with and through an entity that is experienced as both me-and-not-me. Whilst an autoethnographic posthumanism might seem contradictory, I argue that it is a fundamental step in acknowledging our humanistic tendencies and beginning to reflexively engage with, and critique, these ideals. To do so, this thesis “posthumanises” traditionally humanistic constructs: acting and empathy. To widen this concept further, a third analytic re-interrogates different aspects of subject formation to consider how these too could be “posthumanised”. This suggests a broader application of posthumanism, demonstrating how previous notions of mastery, autonomy, and individuality can be critiqued and destabilised in order to view our practices and “selves” as emergent and entwined.

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27

Xinyi, Lin. "Recycled Posthuman Furniture-What has furniture become". Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85799.

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Recycled Posthuman Furniture – What has furniture become is a project that aims to explore the relationship between humans and furniture from the post-humanist perspective. Post-humanism is understood here as our capacity of giving non-human items the sense of humanity in terms of ethics and effects. Accordingly, we might consider the furniture has some certain human values. Therefore, this paper aims to demonstrate a new relationship compared with current states through a transdisciplinary design and speculative design with the goal of changing people’s understanding towards discarded furniture. Through the knowledge of current issues, this paper is tended to bring different perspectives of thoughts and questions in order to be aware of surrounding issues with the hope of changing current states to deliver a better future by chance. As the result, this paper puts forward a new sustainable lifestyle which advocates equality and inclusiveness among human and nonhuman and thus helps to solve survival crisis. Human is not the almighty of the world and all the existences are valuable as well. As humans, we must change our thinking patterns and begin accepting and treating other nonhuman equally. We are required to wake emotions that are hiding deep down in our heart and apply them on furniture and treat rejected and abandoned furniture as human. Only in this way can we decrease environmental pressure, reduce the discharge of solid waste and deal with the global crisis. Taking furniture as a start, humans should open their emotions and care for all objects that are living on the earth, focus on collective interest instead of individual interest.

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28

Lemay, Vicky Blue. "Shakespeare's posthumus God postmodern theory, theater, and theology /". [Bloomington, Ind.] : Indiana University, 2007. 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:3278449.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2007.
Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4308. Adviser: Linda Charnes. Title from dissertation home page (viewed May 19, 2008).

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29

Schwalm, Tanja. "Animal writing : magical realism and the posthuman other". Thesis, University of Canterbury. English, 2009. http://hdl.handle.net/10092/4470.

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Magical realist fiction is marked by a striking abundance of animals. Analysing magical realist novels from Australia and Canada, as well as exploring the influence of two seminal Latin American magical realist narratives, this thesis focuses on representations of animals and animality. Examining human-animal relationships in the postcolonial context reveals that magical realism embodies and represents an idea of feral animality that critically engages with an inherently imperialist and Cartesian humanism, and that, moreover, accounts for magical realism's elusiveness within systems of genre categorisation and labelling. It is this embodiment and presence of animal agency that animates magical realism and injects it with life and vibrancy. The magical realist writers discussed in this dissertation make use of animal practices inextricably intertwined with imperialism, such as pastoral farming, natural historical collections, the circus, the rodeo, the Wild West show, and the zoo, as well as alternative animal practices inherently incompatible with European ideologies, such as the Aboriginal Dreaming, Native North American animist beliefs, and subsistence hunting, as different ways of positioning themselves in relation to the Cartesian human subject. The circus is a particular influence on the form and style of many magical realist texts, whereby oxymoronically structured circensian spaces form the basis of the narratives‟ realities, and hierarchical imperial structures and hegemonic discourses that are portrayed as natural through Cartesian science and Linnaean taxonomies are revealed as deceptive illusions that perpetuate the self-interests of the powerful.

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30

Hausmann, Mark. "Concrete Reality: The Posthuman Landscapes of J.G. Ballard". Chapman University Digital Commons, 2016. http://digitalcommons.chapman.edu/english_theses/3.

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While the fiction of J.G. Ballard has been primarily explored through postmodern criticism, his narratives and settings predict major issues concerning the contemporary discourse of posthumanism. His texts explore the escalating economic, social, and ecological crises converging within the material conditions of human urbanization and late capitalism. Nearly all of Ballard’s novels are as much about locations undergoing a crisis as they are about individuals or communities coming to embrace some extended period of human hysteria. His characters in The Drought, Concrete Island, and Super- Cannes, each progress through ecologically and socially alienating surroundings which invigorate them to act against classical humanism’s hegemonic and anthropocentric tendencies. By applying Henri Lefebvre’s spatial concept of “abstract space” to Ballard’s range of urban settings, this thesis investigates how Ballard’s early, middle, and late, novels continually put materiality, humanism, and technological landscapes, through different ecological and geopolitical crises in order to deconstruct a number of cultural and ideological concerns posthumanist studies seek to address.

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31

Friedland, Barton. "Posthuman leadership and the roles of computational objects". Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/77000/.

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Leadership is a central topic in business and one in which organisations invest heavily. Despite the tremendous influx of computational objects into the workplace and their use as part of the operational framework through which organisational life is enacted, little empirical research exists that explores the relationship between leadership practice and said objects. This study helps to close this critical gap in both practical and theoretical knowledge. Through an interrogation of leadership practice and their enactments with computational objects across a range of situational and comparative empirics, this research develops three original theoretical contributions. First, it presents and develops a range of roles through which computational objects are enmeshed within leadership practice. Second, the study proposes a novel posthuman perspective that attempts to address a historic privileging of the human, positing a disjunction of responsibility from authority. And third, it theorises leadership as a processual phenomenon produced through citationality in material-discursive practice. Through an ethnographic work practice study, this research contributes an original articulation of a posthuman, practice-based theory of leadership not fully accounted for by received conceptions.

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32

Richards, Daniel Patrick. "Dead Man's Switch: Disaster Rhetorics in a Posthuman Age". Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4933.

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When a disaster the magnitude of the Deepwater Horizon blowout and oil spill takes place, is it natural for the news media stories, investigative reports, and public deliberation to focus almost exclusively on finding the person or group responsible for such a horrendous scene. Rhetorically speaking, the discourse surrounding the event can be characterized as a reductive form of praise and blame rhetoric (epideixis). However, these efforts, while well-intentioned, are troublesome because searches for the one technical cause and the sole personal culpability are thwarted by the sheer complexity of the ecological, technological, scientific, institutional, and communicative network required for such a disaster to take place. Thus, to demonstrate the insufficiency of extant models of disaster in a variety of fields, which tend to privilege human-centered approaches, Dead Man's Switch: Disaster Rhetorics in a Posthuman Age explores the ontology, technical documentation, and rhetorical theory of disasters through a posthuman lens. To find a more critical approach to understanding the nature of disasters in the twenty-first century, I ask the following questions: How do rhetoricians and technical communicators account more fully for the human and nonhuman forces at work in the precipitation of disaster? How do rhetoricians and technical communicators find an approach to ecological catastrophe that goes beyond the mere "environmentalist rhetoric" characterizing the public response? Through the application of several posthumanist theories, my project develops an approach to disaster that complicates traditional ways of approaching causality and blame. I use accident reports, news media stories, and popular literature as data for this project. By examining these texts, my project has broad implications for technical communication, rhetorical theory, and philosophy of rhetoric.

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33

Sayal-Bennett, Amba. "Posthuman pedagogy : affective learning encounters in studio art practice". Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/24089/.

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The growing conceptual turn in UK tertiary-level art education has led to the increasing dematerialisation of the studio as a site for learning. This practice-based research responds to this context and advocates the primacy of the studio as a space for embodied experimentation. In contrast to the representational analyses prevalent in art historical discourse, I propose a new materialist reading of studio art practice to explore the transformative potentials of matter: specifically, how, by giving greater agency to materials, matter takes on a pedagogical role. Drawing on the work of Deleuze, Haraway, Barad and Hayles, I consider the prosthetic nature of art practice, and focus on the fluid boundaries of the artist-learner in the making process. I delineate how material agency operates within artistic assemblages to extend learner subjectivity, and suggest that the artist-learner experiences themselves as ‘other’ through affective intensities that traverse bodies in the artistic assemblage (both human and non-human). These encounters produce immanent learning experiences, as normative perceptions are challenged and new orientations affected. Artist-learners are therefore not discrete but entangled entities, and art practice, as a form of posthuman pedagogy, generates thought that is not exclusively human. This research offers a critical reappraisal of learning in a broader non-human context, where the non-human focus of this research considers how the materiality of learning becomes a core part of what is learnt and how the body becomes. The practices that I investigate can be understood as Critical Pedagogies, as they embrace embodied experience as a vital dimension of the learning process and bridge the gap between producers and consumers of knowledge. This investigation contributes to a field of research that aims to theorise more affective learning practices, and to critical discourse that focuses on the intra-action of cultural studies, art practice and education.

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34

Svedmark, Eva. "Becoming Together and Apart : technoemotions and other posthuman entanglements". Doctoral thesis, Umeå universitet, Institutionen för informatik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-120195.

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Using social media and norm-breaking material as an empirical touchstone this thesis elaborates, investigates and explores the entangled relationships between humans and technology in social media settings. Guided by uncomfortable, emotional and bodily online sharing the thesis gives voice to stories that are seldom heard, by people whose lives are rarely spoken of. By exploring the performative entanglements of/with/through technology, design and human intent the overall aim is to offer a critical and new understanding of our online togetherness and posthuman becoming. The conceptual framework throughout the thesis is based on posthuman theory and feminist technoscience, two closely connected theories providing a new onto-epistemological way of understanding the world’s becoming. The thesis should be seen as the product of an empirical practice of making theory about digital things, culture, humans and non-humans. By exploring diffraction and touch as not only theoretical standpoints but also hands-on methodology the thesis contributes to the development of new ways of doing research. Important findings arising from the practice of diffraction and touch are Technoemotions – conceptually agents built on a posthuman understanding of how emotions are entangled between and within the phenomenon, becoming important agents in the apparatus creating the phenomenon. Four Technoemotions seem particularly prominent in the material: Trust, Truth, Time and Embodiment. The thesis concludes by providing a discussion on critical alternatives for ethics, politics and power in relation to social media and the norms and norm-breaking practices most of us participate in. The responsibility and ability to respond are addressed, as well as social justice and hope for the future to come.
Sociala medier har för många människor blivit en naturlig del av vardagen där den digitala gemenskapen är lika viktig som den analoga. På platser så som Facebook, Twitter, bloggar och Instagram kommunicerar vi genom att dela med oss av tankar, händelse och åsikter i vår vardag. Vi varvar bilder från vår semester med politiska artiklar, delar vidare kloka citat eller resultatet från ett test av något slag, skryter på våra barn, filmar våra husdjur, delar med oss av sjukdomstillstånd och barnafödande och allt annat som en vardag kan vara fylld av. Just själva delandet är ett viktigt fundament i sociala mediers blivande och dess design är ofta optimerad för att kunna dela samma inlägg till flera olika sociala plattformar med ett enkelt klick. Denna avhandling handlar om hur vi genom sociala medier blir tillsammans på nätet, hur vi formar varandra men även hur vi formas av de tekniska scripts och den design som sociala medier är uppbyggt av. I avhandlingen får läsaren ta del av ett stort normbrytande empiriskt material. Med avstamp i detta normbrytande undersöker sedan författaren hur feministisk teknovetenskap och posthumanistisk teori kan användas som konkret metod för analys. Genom att applicera både närhet och diffraktion till det normbrytande empiriska materialet finner författaren det hon valt att kalla Teknoemotioner – konceptuella agenter som har sitt ursprung i sammanflätningar av digitala, sociala, mänskliga och icke-mänskliga material och kompositioner. Fyra teknoemotioner är särskilt framträdande, dessa är: förtroende, sanning, tid och förkroppsligande men författaren nämner också friktion och frusna berättelser som viktiga för att förstå fenomenet normbrytande delningar i sociala medier. Förtroende, sanning, tid och förkroppsligande är teknoemotioner som befinner sig i mellanrummet mellan skilda delningspraktiker i sociala medier. Dessas teknoemotioner skapar förutsättningar och påverkar upplevelser, ger indikationer om möjliga skillnader och likheter som är av betydelse för hur vi blir tillsammans med digitala material genom sociala medier. Författaren ger exempel på att det visserligen ofta är först i sin frånvaro som teknoemotioner blir uppenbara och får agens. Därmed konstaterar författaren att teknoemotioner också ofta är sin motsats. Analysen visar vidare att användare ofta uppfattar teknoemotionerna som valbara, exempelvis sanning. I sociala medier är sanning ofta en komplex agent, som ifrågasätts eller behandlat som något var och en får/kan avgöra på egen hand. Förtroende likaså. Med teknoemotionen, förkroppsligande, framgår också en tvetydighet, där kroppen (den fysiska) saknas i det virtuella rummet även om digitala kroppar är högst närvarande. Kan det vara så att känslan av anonymitet växer sig starkare om jag kan välja att vara i eller utanför min kropp? Slutligen, tid. Tid är inte detsamma på internet som vi är vana. Där är tid ett högt arbiträrt begrepp och vi befinner oss i vår historia, samtid och till viss del även får framtid simultant. Avhandlingen avslutas med en metareflektion över hur det är möjligt att skapa kunskap om komplexa posthumanistiska fenomen där mänsklig handlingsförmåga vävs samman med digitala material och dess skilda rationaliteter. Genom att efterfråga alternativa ideal för kunskapsutveckling och design där etik, politik och makt är viktiga inslag hoppas författaren på en kritisk och alternativ förståelse av den verklighetsproduktion som sociala medier (och andra posthumana fenomen) bidrar till.

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35

Ghashmari, Ahmad. "HUMANIZING THE POSTHUMAN IN POWERS, WALLACE, GIBSON AND DELILLO". Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent147855115808631.

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36

Simmons, Daniel J. "Performing posthuman : constructing, inhabiting, and evaluating techno/corporeal networks /". Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1594480401&sid=15&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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37

Christmas, Amy Jane. "Augmented intimacies : posthuman love stories in contemporary science fiction". Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/6546/.

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Science fiction in the developed world has for centuries provided a fertile space for explorations of human and cultural phenomena, on the one hand underpinning philosophical conceptions of humans and human nature, and on the other acting as a fictive mirror in which the aspects and impacts of our technoscientific cultures are reflected. Between nature and culture stands the figure of the posthuman, whose ancestry can be traced as far back as the Talmudic golems, but whose presence is most keenly felt in the genre since the mid-twentieth century, where the science has caught up with the fiction. Resurfacing in post-industrial, secular society, alongside technologies newly able to render it into being, the posthuman reminds us of our position in relation to evolutionary laws, inviting speculation upon its future, and thus, by default, upon our own. In 2002, Francis Fukuyama used two seminal works of science fiction – Aldous Huxley’s Brave New World (1932) and George Orwell’s Nineteen Eighty-Four (1949) – to trace ‘a tale of two dystopias’, or how two fields of technoscience are currently pushing us into a posthuman stage of history. Biotechnology and communications are, as Donna Haraway has put it, ‘the crucial tools recrafting our bodies’ – moreover, they provide the discursive spaces within which we now so consciously write and rewrite our presents, pasts and futures. This thesis follows the dovetailing trajectories of Fukuyama’s ‘two futures’ hypothesis by presenting, in two sections, a range of posthuman figures in contemporary science fiction novels, short stories, comics and films. Beginning with Philip K. Dick’s genre-defining Do Androids Dream of Electric Sheep? (1968) and ending just over four decades later with Henry Joost and Ariel Schulman’s milestone Internet documentary Catfish (2010), the four textual analysis chapters delineate an evolution of the posthuman in fiction (and reality) from cyborg to cyberpunk, showing how the ground is quickly closed up between the human and the posthuman. Much excellent scholarship, following Haraway’s ground-breaking “Manifesto for Cyborgs” (1985), has been produced on the cyborgian/posthuman figure in science fiction and practice alike; the posthuman as the ultimate Other for our technoscientific world. This thesis takes a new approach in refocusing upon the posthuman in love, responding to the growing insistency in science fiction texts to foreground romantic relationships between posthumans, between humans and posthumans, and between humans enframed by the technoscientific. The close readings of these eleven primary sources are underpinned by four chapters devoted to constructing a philosophical framework which marries the cyborg theory of Haraway and the virtual posthumanism of N. Katherine Hayles with the history of the philosophy of love in the continental tradition, specifically the late-twentieth and early twenty-first-century writings of Alain Badiou. Working from Badiou’s central tenets of love – difference, disjunction, and the encounter – and analysing the move to posthuman selfhood alongside the seemingly anachronistic pursuit of love in late modernity, this thesis seeks to explore and explain the presence and meaning of love in high-tech society. If the posthuman is an emergent figure portending the end of history, as many postmodern thinkers have argued, then how can we understand its relationship to the love paradigm, which turns on the perpetuation of a conception of metanarrative that, in current modes of criticism, has fallen out of fashion?

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38

Swift, Adam Glen. "Mapping posthuman discourse and the evolution of living information". Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16439/1/Adam_Swift_Thesis.pdf.

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The discourse that surrounds and constitutes the post-human emerged as a response to earlier claims of an essential or universal human or human nature. These discussions claim that the human is a discursive construct that emerges from various configurations of nature, embodiment, technology, and culture, configurations that have also been variously shaped by the forces of social history. And in the absence of an essential human figure, post-human discourses suggest that there are no restrictions or limitations on how the human can be reconfigured. This axiom has been extended in light of a plethora of technological reconfigurations and augmentations now potentially available to the human, and claims emerge from within this literature that these new technologies constitute a range of possibilities for future human biological evolution. This thesis questions the assumption contained within these discourses that technological incursions or reconfigurations of the biological human necessarily constitute human biological or human social evolution by discussing the role the evolution theories plays in our understanding of the human, the social, and technology. In this thesis I show that, in a reciprocal process, evolution theory draws metaphors from social institutions and ideologies, while social institutions and ideologies simultaneously draw on metaphors from evolution theory. Through this discussion, I propose a form of evolution literacy; a tool, I argue, is warranted in developing a sophisticated response to changes in both human shape and form. I argue that, as a whole, our understanding of evolution constitutes a metanarrative, a metaphor through which we understand the place of the human within the world; it follows that historical shifts in social paradigms will result in new definitions of evolution. I show that contemporary evolution theory reflects parts of the world as codified informatic systems of associated computational network logic through which the behaviour of participants is predefined according to an evolved or programmed structure. Working from within the discourse of contemporary evolution theory I develop a space through which a version of the post-human figure emerges. I promote this version of the post-human as an Artificial Intelligence computational programme or autonomous agent that, rather than seeking to replace, reduce or deny the human subject, is configured as an exosomatic supplement to and an extension of the biological human.

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39

Swift, Adam Glen. "Mapping posthuman discourse and the evolution of living information". Queensland University of Technology, 2006. http://eprints.qut.edu.au/16439/.

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The discourse that surrounds and constitutes the post-human emerged as a response to earlier claims of an essential or universal human or human nature. These discussions claim that the human is a discursive construct that emerges from various configurations of nature, embodiment, technology, and culture, configurations that have also been variously shaped by the forces of social history. And in the absence of an essential human figure, post-human discourses suggest that there are no restrictions or limitations on how the human can be reconfigured. This axiom has been extended in light of a plethora of technological reconfigurations and augmentations now potentially available to the human, and claims emerge from within this literature that these new technologies constitute a range of possibilities for future human biological evolution. This thesis questions the assumption contained within these discourses that technological incursions or reconfigurations of the biological human necessarily constitute human biological or human social evolution by discussing the role the evolution theories plays in our understanding of the human, the social, and technology. In this thesis I show that, in a reciprocal process, evolution theory draws metaphors from social institutions and ideologies, while social institutions and ideologies simultaneously draw on metaphors from evolution theory. Through this discussion, I propose a form of evolution literacy; a tool, I argue, is warranted in developing a sophisticated response to changes in both human shape and form. I argue that, as a whole, our understanding of evolution constitutes a metanarrative, a metaphor through which we understand the place of the human within the world; it follows that historical shifts in social paradigms will result in new definitions of evolution. I show that contemporary evolution theory reflects parts of the world as codified informatic systems of associated computational network logic through which the behaviour of participants is predefined according to an evolved or programmed structure. Working from within the discourse of contemporary evolution theory I develop a space through which a version of the post-human figure emerges. I promote this version of the post-human as an Artificial Intelligence computational programme or autonomous agent that, rather than seeking to replace, reduce or deny the human subject, is configured as an exosomatic supplement to and an extension of the biological human.

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40

Dreidemy, Lucile. ""Denn ein Engel kann nicht sterben" : Engelbert Dollfus 1934-2012 : eine Biographie des Posthumen". Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC026/document.

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Engelbert Dollfuß, chancelier et dictateur autrichien entre 1932 et 1934, mourut le 25 juillet 1934 au cours d’une tentative de putsch de Nationaux-Socialistes. Aujourd’hui, il constitue l’une des personnalités les plus controversées de l’Histoire Contemporaine autrichienne. Alors que de nombreuses recherches ont déjà été menées sur le régime dictatorial mis en place par Dollfuß et repris après sa mort par Kurt Schuschnigg, aucun travail ne s’est porté jusqu’à présent sur le mythe entourant la figure de Dollfuß. Comment est née la controverse qui survit aujourd´hui autour de Dollfuß ? Sur quels schémas narratifs le mythe a-t-il été construit puis développé? Quels en ont été les acteurs ? Quelles fonctions politiques et identitaires a joué le mythe de Dollfuß pour chacun des grands partis politiques autrichiens et, au-delà, dans l’avènement tardif de la « nation autrichienne » ? C’est à ces questions, jusqu’alors toutes inexplorées, que cette thèse tente de répondre
In an experimental biographical form, this thesis traces the “posthumous life” of the Austrian Chancellor who ruled as a dictator from 1933, and was killed by the Nazis on 25 July 1934. Although the majority of the population is ignorant of Dollfuss, he remains, paradoxically, the most controversial figure in contemporary Austrian history, and his legacy continues to provoke political scandal and controversy. The theoretical part of the dissertation deals mainly with the mechanisms of construction of political myths and their social functions; in addition, it considers the possibility of the posthumous survival of a historical figure as part of his or her biography. Using the tools of both historical and critical discourse analysis, this project investigates the evolution of the versatile Dollfuss myth, considers its various forms of expression through different media, and assesses its actors and their political and ideological interests
Am 25. Juli 1934 wurde der seit März 1933 diktatorisch regierende österreichische Bundeskanzler Engelbert Dollfuß im Laufe eines Putschversuchs der illegalen österreichischen Nationalsozialisten getötet. Nach seinem Tod „überlebte“ Dollfuß in Form eines facettenreichen Mythos, der bis heute geschichtspolitische Wellen schlägt und in politischen, religiösen und akademischen Kreisen weiterhin kontrovers diskutiert wird. Diesem bewegten Nachleben widmet sich diese Dissertation in Form einer experimentellen „Biographie des Posthumen“. Der theoretische Teil der Arbeit widmet sich zunächst den Mechanismen der Entstehung politischer Mythen sowie ihren identitätsstiftenden Funktionen. Darüber hinaus wird der Stellenwert von Personenmythen in der Biographieforschung hinterfragt und die Relevanz der Einbeziehung des „Posthumen“ in die biographische Perspektive hervorgehoben. Gestützt auf diesen theoretischen Unterbau und mithilfe der Instrumente der historischen und kritischen Diskursanalyse analysiert die Dissertation die Entstehung des Dollfuß-Mythos und dessen Entwicklung im Laufe der letzten 78 Jahre, untersucht seine verschiedenen medialen Ausdrucksformen und fragt nach den geschichtspolitischen Akteuren des Mythos sowie ihren politischen Interessen. Diese Untersuchung bettet sich in eine breitere Reflexion über die Opportunität oder Inopportunität des Dollfuß-Mythos im Hinblick auf den langwierigen Prozess der österreichischen Nationsbildung und Identitätsstiftung ein

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41

Smith, Mark Bryan Bridger. "The posthuman : hostis humani generis? : science fiction allegories/social narratives". Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/4117/.

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Whether in the guise of the novel or non-print media such as film and television, fin-de-millennium science fiction has provided opportunities to envisage a posthuman stage of evolution. The academic response to this has been polarized. Certain elements have embraced the genre as integral to the sociocultural relationship between unfettered biotechnological advance and the limitation of the human flesh. Others have treated the topic as fanciful entertainment, leading them to ignore and sometimes ridicule research on the posthuman. The thesis seeks to utilise the contemporary science fiction allegory as an aid in developing a critique of the emerging posthuman discourse, facilitating the analysis of its socio-political dynamic, and questioning whether discourse advancement necessitates the rejection of the humanist metanarrative. The thesis is divided into six chapters. The first chapter differentiates the posthuman from established biotechnological discourses, e mg the discontinuities in global location, temporal engagement, and participant ideology. The second reflects on the contemporary human condition associated with man's technological ingenuity being a credible threat to his own existence. It then outlines the epochal technoscience of the posthuman and introduces the diametrically opposed standpoints of the posthuman as amelioration, or autoextinction. The third chapter draws upon utopian visions of the future to contextualise and assist in the critical analysis of narratives advocating posthuman technoscience. The fourth chapter reverses this, by utilising dystopian imagery as an entree into the rationale of those opposing human alteration, facilitating its critique. The fifth chapter sees the science fiction allegory as a postfoundationalist narrative, offering up a discursive mirror to the influences of providence and progress on the posthuman debate. The final chapter examines whether an a-humanist account of man's relationship with technology might help to advance the posthuman debate.

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42

Crano, Ricky D'Andrea. "Posthuman Capital: Neoliberalism, Telematics, and the Project of Self-Control". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405531247.

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43

Chambers, Lynn. "Posthuman Literacy Practices in a Reggio-inspired South African school". Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33608.

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Through a posthuman approach to literacy education, I explore the Reggio Emilia pedagogy adopted by an independent South African primary school. Unlike the current emphasis in literacy pedagogy on language, standardised and individualised testing and universal curriculum approaches, Reggio Emilia pedagogy views child, learning and knowing not as separate from each other and from the world, but as entangled and always on the move. Moreover, Reggio Emilia-inspired schools celebrate the ‘hundred languages' of children, not just the spoken or written word, and involve children in an emergent curriculum through pedagogical documentation. In my study, pedagogical documentation (including photos and videos) also serves as research ‘instrument' to co-create data and is analysed diffractively – drawing on feminist philosophers and scientists Donna Haraway and Karen Barad. The new theorypractice produced reconfigures literacy as an assemblage which includes human and nonhuman in an entangled, intra-acting becoming-together. This includes children, no longer understood as individual entities in the world, but as phenomena. My enquiry produces a rich entanglement of unexpected actors, including digital and non-digital technologies, discourses about literacy, questions of ethics and response-abilities, and many more. The ethics of a posthumanist orientation to literacy education urges us to think about what is made to matter in a classroom and what is excluded from mattering. My research shows that children, rather than having agency as singular entities, are part of distributed agency in learning and as such are rendered capable as part of a complex, living system always in motion.

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44

Lausa, Dawn E. "Descartes' daughters thinking-machines and the emergence of posthuman complexity /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2009. http://wwwlib.umi.com/cr/syr/main.

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Schoultz, Ian D. "A Poor Excuse for a Watering Can". Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1470075889.

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46

Johansson, Mattias. "The Human Cloning Era : On the doorstep to our posthuman future". Thesis, Linköping University, Centre for Applied Ethics, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-1858.

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Human reproductive cloning came to the public´s attention when Dolly the sheep was cloned in Scotland in 1997. This news quickly spread around the world causing both excitements at the possibilities of what cloning techniques could offer, as well as apprehension about the ethical, social and legal implications should human reproductive cloning become possible. Many international organisations and governments were concerned about the impact of human reproductive cloning on human health, dignity and human rights. To this day, many institutions have drafted resolutions, protocols and position statements outlining their concerns. This paper outlines some of the major ethical issues surrounding human reproductive cloning and the position towards this novel technique taken by three important international organisations - Council of Europe, World Health Organization, and United Nations Education, Scientific and Cultural Organization - expressed in different regulatory frameworks. Proponents of human cloning occasionally point out that cloned humans are already among us in the form of twins - people with identical sets of DNA - so what is the problem? Besides avoiding the fact that natural twins are always siblings, whereas a clone could be the twin of a parent or grandparent, this observation ignores a crucial moral difference: natural twins arrive as rare creations, not as specifically designed products. Instead of being an uncontrolled, self-regulated evolutionary process, creation of man through reproductive cloning are shifting from being natural to a state of instrumentality where parental interests constitutes what is important. This shift will inevitably lead to the child being a means for some other end (parental interests). However, this is not the same as being subdued into genetic determinism, but the point brought forward is the child´s lack of freedom caused by the interests of the parents. In this sense the clone´s genome constitutes a heavy backpack because of our pre-knowledge of its physical building blocks - or in other words its potentiality. Even though the argument of genetic determinism is a weak one, our subconscious"forces"us to create hopes upon the child because of its potentiality. No longer is the evolution the creator with the dices of randomness. A new gambler is in town and this time the dices are equilateral.

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47

Griffin, Meghan. "Somatechnologies of Body Size Modification: Posthuman Embodiment and Discourses of Health". Doctoral diss., University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5228.

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This project focuses on persistent gaps in philosophies of the body: the enduring mind-body divide in accounts of phenomenology, the unfulfilled promises of representing and inhabiting the body in online and virtual spaces, and the difference between health as quantified in medical discourse versus health as lived experience. These tensions are brought to light through the electronic food journal genre where the difficulty in capturing pre-noetic, outside-consciousness aspects of experience and embodied health are thrown into relief against circulating cultural discourses surrounding health, body size, self-surveillance, and self-care. The electronic food journal genre serves as a space for users to situate themselves and their daily practices in relation to medicalization, public policy, and the conflation of health and body size. These journals form artifacts reflecting life writing practices in digital spaces that model compliant self-surveillance as well as transgressive self-care. The journals instantiate the mind-body-technology interactivity of extended cognition, but also point toward a rupture in the feedback loops that promise to integrate pre-noetic aspects of being and experience. By exploring the tensions inherent in these online food journaling spaces, this project concludes by offering a PEERS heuristic/heuretic for assessing theories and technologies of embodiment and health for their ability to access what resides in the “remainder” of current embodiment philosophy and to identify the aspects of lived experience left unattended in USDA health policy, food journaling interfaces, and embodiment philosophy. The PEERS model can be used to evaluate existing technologies for their capacity to map true mind-body-technology interactivity and to build new theory that accounts for a fuller, more nuanced approach to understanding embodied reality and embodied health.
Ph.D.
Doctorate
Arts and Humanities
Texts and Technology

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48

Pearson, Megan St Clair. "A Whedon Manifesto| Superhumans, Inhumans, and Humans in the Posthuman Century". Thesis, Southern Illinois University at Edwardsville, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1560922.

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Examining Whedon's cyborgs using Donna Haraway's essay "A Cyborg Manifesto: Science, Technology, and Socialist Feminism in the 1980s" and the literary theory of posthumanism, I examine which posthuman cyborg characters exhibit characteristics of villainy as well as those that display the antipodal characteristics of heroism. Haraway is well known as one of the earliest theorists to examine cyborgs in literature as transformative figures, and she is referenced in almost every cybernetic studies text available. Haraway's construction of the cyborg identity, which she deems essential for the progress of feminism, opens up a new type of human existence. For Haraway, the cyborg's conglomeration of bits of organic matter with that of machine creates an authentic replication of natural human existence, removed from possible human error within the body itself. Haraway's definition of the cyborg allows for some clear-cut outlines of what constitutes the body of the cyborg. The cyborg is a fused being, a combination of both organic and nonorganic material, which exists in both reality and fiction (Haraway 7). Whedon's corpus is replete with cyborg characters, from the `Frankensteinesque' Adam in Buffy the Vampire Slayer, to that of the manipulated human forms of River Tam and the Reavers in Firefly and Serenity, and lastly to the technologically-adept Dolls and Topher Brink in Dollhouse.

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49

Murgia, Claudio. "[Beyond] posthuman violence : epic rewritings of ethics in the contemporary novel". Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/93366/.

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My research will consist of a literary investigation into changing representations of violence in the contemporary novel in the context of the paradigm shift from humanism to posthumanism, from reality to fiction. The core of my work, developed through the reading of some research in neuroscience, will concern the examination of the brain as metaphor machine. From here, I will argue that the problem of violence in relation to fiction today is due to the struggle in the human body between transcendence and immanence. The individual has a tendency to transcend reality and in so doing lives violence as fiction even when inflicting pain to the other. I will observe how this transcendence is translated in contemporary narrative forms and I will shape a rhetoric of contemporary literary violence. My intention is to conduct comparative research across British, American, French and Italian literary fiction of the past 20 years, with a few exceptions. I will explore whether and how, in a globalizing world, it is both possible and necessary to develop a comparative literary analysis of the forms of contemporary violence. I will observe how the advent of posthumanity or of the fictional man has generated a crisis in the definition of identity and reality in a context in which fiction has taken its place. I will show how the individual re-acts to this condition through violence in order to find authenticity. References will include the works of Deleuze, Badiou, Bauman, Baudrillard, De Man, Agamben, Hayles et alii. In order to explore the different ramifications of the substitution of fiction to reality and its connection to violence, I will focus on what I consider the main three tools for the creation of simulation today: language, desire and information, through the works of Wallace, McCarthy, Miéville, Ballard, Gibson, Palahniuk et alii. Finally, the work will focus on the new emphasis given by contemporary writers to literary responsibility after the irresponsible writing (after the death of the author) of postmodernism through the analysis of the New Italian Epic postulated by Wu Ming but applied to the English Weird Fiction writer China Miéville. I will suggest that an attempt to overcome postmodernism is taking place in contemporary global fiction based on a more ‘serious’ approach (as Wallace would have said), a new ethics of literature, which endeavours to depict the reasons for contemporary violence in fiction and advocates for a balance between the transcendence of fiction and the immanence of reality.

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50

McAulay, Alex Cooper Pamela. "Surfing the interzones posthuman geographies in twentieth century literature and film /". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,2228.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.

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Tesis sobre el tema "Posthume"

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