Дисертації з теми "Phenomenology of film"
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Shaw, Spencer. "Showtime : the phenomenology of film consciousness." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3045/.
Повний текст джерелаRichard, David Evan, Lisa Bode, and Jane Stadler. "Film Phenomenology and Adaptation: Words Made Flesh." Thesis, University of Queensland, 2017.
Знайти повний текст джерелаTomlinson, Andrew Simon. "Windows and souls : contrary imaginations in film." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268547.
Повний текст джерелаLaamanen, Carl. "The Address of the Soul: Phenomenology and the Religious Experience of Film." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554287220304112.
Повний текст джерелаHart, Blaize Robert. "In Visible Bodies: A Phenomenology of Sexuality and the Creation of Repressive Systems in Film." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158768776757641.
Повний текст джерелаMacrae, David J. R. "The sensory screen : phenomenology of visual perception in early European avant-garde film." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/28518.
Повний текст джерелаBritt, Tara Danielle. "Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers /." Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.
Повний текст джерела"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.
Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.
Повний текст джерелаMorales, Matthew. "Concerning Virtual Reality and Corporealized Media: Exploring Video Game Aesthetics and Phenomenology." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7343.
Повний текст джерелаWilson, Laura. "Physical spectatorship and the mutilation film." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/physical-spectatorship-and-the-mutilation-film(7443c1ca-02ca-4133-8598-333fc44df9e8).html.
Повний текст джерелаDesiderio, Matthew John. "Wandering: Seeing the cinema of Wim Wenders through cultural theory and naturalized phenomenology." Diss., TEMPLE UNIVERSITY, 2011. http://pqdtopen.proquest.com/#viewpdf?dispub=3440069.
Повний текст джерелаLeadston, Mackenzie M. "Theorizing the Comic Object in Classical French Cinema." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155498483572897.
Повний текст джерелаTopp, Sydney Fisher. "The Gender Differences in Subjectivity among Superbeing Characters in the Comic Book Film Genre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/87472.
Повний текст джерелаMaster of Science
Marvel and DC Comics are two of the most popular comic book companies in the US. They are responsible or the creation of well-known characters such as Superman and Iron Man. Within the last few decades the comics because popular film franchises. Both companies release several films every year from their respective cinematic universes. These are highly grossing movies and popular enough to have character costumes produced for purchase. Popular cultural phenomenon such as these film franchises provides an opportunity to study social topics such as gender inequality and heteronormativity. This study focuses on the on-screen depictions of these superbeing characters in order to establish a connection between gender and subjectivity in these super-human bodies. Subjectivity, defined by Iris Marion Young’s conceptualization of a feminist phenomenology uses the themes of motivated action, violence and protection, and sexual spectacle to determine if there is a gendered difference in the ways these characters are able to be super and how that impacts their overall subjectivity level. The data supports the theory that male superbeing character are allowed to be full subjects who are able to act upon the world while female superbeing characters are still relegated to the sphere of objectification.
Downes, Sarah. "Bodily sensation in contemporary extreme horror film." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17114.
Повний текст джерелаSalzberg, Ana. "Beyond the looking glass : the narcissistic woman reflected and embodied in classic Hollywood film." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5600.
Повний текст джерелаYu, Chang-Min. "Corporeal modernism: transnational body cinema since 1968." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7051.
Повний текст джерелаAyers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.
Повний текст джерелаKassab, Maryline. "Epic film and the sensory recreation of history: Gladiator (2000) & The Robe (1953)." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123712/2/Maryline_Kassab_Thesis.pdf.
Повний текст джерелаMäki, Åsa. "Rumsbilder : The English Patient (1996), Hero (2002)och Mulholland Drive (2001)." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6606.
Повний текст джерелаThe phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space. Spatial imagery can be conceptualized both as embodied, lived experience and as semiotic sign. The aim is to investigate the idea of a collective image-base, and in what way the universality of these images relates to the individual conditions of each meeting with images of space. The object of study here is also to survey the ways that images of space transgress the borders between bodily experience and abstract sign, between the individually specific and the universal, as well as between actual space and represented space.
Wecker, Danièle Anne Irène. "What do you mean you lost the past? : agency, expression and spectacle in amateur filmmaking." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC135.
Повний текст джерелаThe following thesis presents an examination of privately produced amateur films taken from the Amateur Film Archive in the Centre National d’Audiovisuel in Luxembourg. It analyzes how amateur films present a filmic world and examines specific notions of meaning generation without meta-data and original context. Rather than take amateur film as a homogenous genre or practice, this study concentrates on film language. The first part of the following two-fold engagement with these filmic worlds thus identifies the highly differentiated filmic modes that can be read from theimages. A filmic mode is related to as a concomitance of style and choice in subjectmatter. Without original context, these films lose their most important means ofmeaning generation, namely the recollective narratives that are constructed by theintended audience in the viewing situation. This work takes these images as remnantsof a visual narration rather than in terms of recollective narratives. It operates from the very simple basis that how the camera was used can serve as illustration of underlying intentions and motivations—both intended and inadvertent. The first partof this study then focuses on the diversification within the images and reads concomitant cultural codifications that structure representational productions in the private and also analyzes film language as means of self-narration. The second part of this two-fold engagement explores filmic language in terms of a visualization of primordial signifying expression coming-into-being. This engagement extends to include the researcher and his/her own background as co-constitutive part of this process of primordial meaning
Rybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3375107.
Повний текст джерелаJiang, Tianyu. "“Frankenstein Complex” in the Realm of Digital Humanities : Data Mining Classic Horror Cinema via Media History Digital Library (MHDL)." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169638.
Повний текст джерелаJohansson, Marielle. "”Nu fattar jag lite mer hur de verkligen hade det och varför det blev så hemskt.” : En kvalitativ studie om högstadieelevers uppfattningar av ämnet historia och om hur de ser på skönlitteratur och film i undervisningen som en väg mot ett ökat historiemedvetande." Thesis, Karlstads universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71314.
Повний текст джерелаSyftet med denna studie är att bidra med ett ökat medvetande angående elevers upplevelser av ämnet historia och om hur de ser på att öka sitt historiemedvetande genom mötet med gestaltande stoff via film och skönlitteratur. Frågorna jag söker svar på är vilka uppfattningar elever på grundskolans senare år har om ämnet historia, vilka erfarenheter de har om skönlitteratur och film i undervisningen, samt hur de resonerar om att använda skönlitteratur och film som en väg mot ett ökat historiemedvetande. Studien bygger på kvalitativa intervjuer med 15 elever från grundskolans senare år. Intervjuerna bygger på öppna frågor och utgår från sociokulturellt perspektiv samt med en fenomenologisk ansats. Resultatet visar att eleverna upplever att historieämnet främst handlar om faktakunskaper. Flertalet elever, och då särskilt elever med svenska som andraspråk samt elever med språkliga svårigheter, lyfter fram att ämnet är språkmässigt svårt med många ord och begrepp, vilket verkar försvåra vägen mot ett ökat historiemedvetande. Lärarnas roll anses viktig och då främst genom interaktion med eleverna för att förklara och förtydliga men även som den som berättar och levandegör innehållet. Elevernas tankar om skönlitteratur och film som ett medel för att nå ett ökat historiemedvetande är splittrade och även om de flesta kan se fördelen med fiktiva berättelser samt att många önskar mer av den typen av undervisning för att öka intresset och förståelsen, har de svårt att se hur det ska hinnas med.
Aydin, Ali. "A "Sensuous" Approach to the Cinema of Nuri Bilge Ceylan : Principles of Embodied Film Experience." Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158137.
Повний текст джерелаDudenhoeffer, Larrie. "Corruptions of the Flesh: The Body, Subjectivity, Postmodernity." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/communication_diss/20.
Повний текст джерелаKeeve, Frederick Henry. "A Phenomenological Study of the Experience of Humanist, Spiritual, and Transpersonal Films on Positive Organizational Behaviors in the Workplace." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2320.
Повний текст джерелаDeldén, Maria. "Historien som fiktion : gymnasieelevers erfarande av spelfilm i historieundervisningen." Licentiate thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27218.
Повний текст джерелаBaldissera, Marcia. "Quelles expériences pour quels films? Les temps de notre relation esthétique au monde." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0074.
Повний текст джерелаThe aim of this thesis is to analyze the aesthetic structure of the cinematographic experience. We depart from a definition of film as an (audio)visual flux with a beginning, an evolution, and an end. From the evidence of this constructive principle, this thesis intends to show how the temporal structure of films generates cognitive differences in the spectators' experience. The notion of “temporal structure” is related to the ordering of shots and sounds within their durations in succession and/or in simultaneity, while the adjective “cognitive” refers to the acquisition process and use of our knowledge. This study is based on Kant's aesthetics, Husserl's phenomenology, Deleuze's cinema analysis, Searle's Intentionality, and Schaeffer's aesthetic and fiction cognition theories, in an interdisciplinary perspective, drawing on cognitive sciences empirical data. It is a comparative analysis of the unfolding of the cinematographic reception process – perception, attention and comprehension – and takes the different times of this reception into account, that is, the relation between the object film and the spectators. The objective is twofold: on the one hand it is a question of uncovering the cognitive implications of the cinematographic technique for the spectators' experience through close consideration of the functions of this technique and the principles which the authors’ Intentionality have inscribed upon it; on the other hand, it is a question of evaluating the scope of these constructive and Intentional principles on contemporary cinema, as recent decades have emphasized the progressive radicalization of filmic rhythm. Cinema becomes as such an example of the temporal structures that uphold our relation to the real world
Apelgren, L. Petersdotter. "When Camp becomes a Method : a conceptualization of conversational performatives and curatorial agencies within ‘the camp-eye’." Thesis, Stockholms universitet, Filmvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184801.
Повний текст джерелаNewton, Elizabeth Ann. "Phenomenology in the works of Robbe-Grillet." Thesis, University of Leeds, 2003. http://etheses.whiterose.ac.uk/343/.
Повний текст джерелаAbuhassan, Lama. "Screen architecture : a phenomenology of dread atmospheres in thriller films." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/115023/.
Повний текст джерелаDefuns, Pascal S. "International Arts Trafficking Phenomenology, Criminal Prosecution, Subsumtion : Swiss Law /." St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/00643361004/$FILE/00643361004.pdf.
Повний текст джерелаBenedict, Jason Brown. "Dyeing crystals : 19th century phenomenology to 21st century technology /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/8636.
Повний текст джерелаD'ALOIA, ADRIANO. "L'EMPATIA NELL'ESPERIENZA FILMICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/788.
Повний текст джерелаIn recent decades film studies have shifted their focus to the emotional and bodily level of film experience. By adopting a phenomenological approach, this dissertation deals with the strategies of the film spectator’s involvement in contemporary mainstream narrative films. Chapter 1 reconstructs the meanings of the notion of empathy in philosophy, aesthetics, psychology and neurocognitive research. Chapter 2 traces a genealogy of empathy in film theories, from Bergsonism to Cognitivism, and evaluates the relevance of Simulation-Theory to film studies. Chapter 3 explores the relevance of Edith Stein’s phenomenological theory of empathy to film theory and assumes it is a theoretical model to investigate the “intensified” nature of both film design style and film reception style. A film is constructed and experienced on the basis of the “circuit of empathy”, a stratified system of different species of empathetic interaction, acting at senso-motorial, perceptual, cognitive and emotional levels with the aim of generating both an aesthetic and an inter-subjective experience. Chapter 4 analyses a vast corpus of contemporary films and focuses on four “aerial figures” of involvement and their combination: acrobatics, falling, flying, and non-gravitational movements, both of the actor’s human body and of the film’s anthropomorphic body. In the Conclusions, it is argued that the spectator internally imitates these “double” movements and inadvertently experiences the intentionality implied in the figures. Contemporary film spectators empathetically “get”, with their own sensibility, the senses of an experience that transcends the immanence of the film and contributes to the process of “giving” sense to the World, the Other, and the Self.
Melendez, Melissa Sybel. "Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra (2003): A Phenomenological and Traditional Analysis of the Concerto with Consideration of its Stylized Venezuelan Folk Rhythms." Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1445%5F1%5Fm.pdf&type=application/pdf.
Повний текст джерелаHanaway-Oakley, Cleo Alexandra. "'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.
Повний текст джерелаManuelito, Brenda K. "Creating Space for an Indigenous Approach to Digital Storytelling: "Living Breath" of Survivance Within an Anishinaabe Community in Northern Michigan." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1433004268.
Повний текст джерелаRodriguez, Carmella M. "The Journey of a Digital Story: A Healing Performance of Mino-Bimaadiziwin: The Good Life." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1433005531.
Повний текст джерелаAustin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
Повний текст джерелаOhana, Sarah. "L'étonnement ou "l'éclat du visible"." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC256.
Повний текст джерелаAstonishment has a privileged place in the history of philosophy, considered as the emotion behind all forms of philosophical speculation; it is the most appropriate object of study to analyze the common problems of cinema and Philosophy: movement (Thales, Heraclitus, Zeno of Elea), questioning reality (Descartes), access to knowledge through the senses (Plato). Cinema will thus be considered as a tool able to portray Cartesian doubt through a progressive deconstruction of reality. Each film studied materializes a stage of this deconstruction: Three Days of the Condor by Sydney Pollack: questioning reality Aguirre, the Wrath of God by Werner Herzog and Bullitt by Peter Yates: the denial of reality the filmography of Buster Keaton (short and feature films); the betrayal of appearances the abstract works of Stan Brakhage: the reduction of reality to an interweaving of forms and sensations. Thus, by the incarnation of « conceptual characters » (the idiot, the skeptic, the young philosopher), cinema allows us to empirically access to philosophical reasoning. This development will also involve the redefinition of the causes and conditions of astonishment. Indeed, the relationship between astonishment and memory will necessitate a further investigation into, since it is mainly linked to the new and the extraordinary in the different treatises on emotion studied (Descartes, Darwin, Charles Le Brun, William James). Thus, by means of a revaluation of the affective memory in the perception of an astonishing object, this emotion can finally be considered according to the past of the subject. The different types of recognition involved in filmic vision will be analyzed to understand when this phenomenon moves from being a minor event to a major event. In this way, cinema can be used as a memorial laboratory. Thanks to an anthropological approach to the primary cause of astonishment in the cinema: « the moving leaves » (i.e. movement), the myth of living images, will be studied through its persistence at different moments of cinema history from Abel Gance’s Napoleon to Young Sherlock Holmes by Barry Levinson. The first principle of cinematic astonishment leads us to consider its inversion, the astonishment aroused by another aspect of life of images, one dominated by the suspension or the halting of the image. Finally, the « Saturated Phenomena » (defined by Jean-Luc Marion as an astonishment overlooking the spectator's field of vision) will be divided into a typology of the different 6 types of saturation in the cinema (cubist montage, crowded frames, etc.) in order to find a visual equivalent of the evidence (the first Cartesian obsession) and to reassert the value of the senses in the construction of knowledge
Fujisaka, Ana Paula. "O familiar cuidador e o processo de fim de vida e morte de seu ente querido: uma compreensão fenomenológica." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-28112014-111303/.
Повний текст джерелаThis study aimed to understand the experiences of family caregivers during and after caring for a loved one in the process of end of life and death. With important progress in scientific and technological areas, life expectancy of the world population has increased. Moreover, people of any age have survived longer with serious illnesses and/or accidents. These significant changes in population has increased the demand for care, which have been conducted, mostly by close relatives. Then, the aim of this research was learning more about this caregiver; understanding the impacts to him in care experience, their role in the process and knowing better how he deals with the idiosyncrasies of this intense experience. This work is based on the phenomenological research method developed by Amedeo Giorgi. The interviews had a non-directive approach and were started with the question: How did you experienced the taking care of your loved one in an end of life process? And how did having lived his/her loss? They were conducted taking in account what the participants considered as relevant issues. Six adults participated, three men and three women, ranging from 26 to 63 years of age; they were the main caregivers of relatives with potentially fatal diseases. The collaborators had knowledge about the study through divulgation for known people and voluntarily wished to cooperate. The comprehensive analysis of the narratives showed that: 1) It is fundamental to include family, especially the caregiver member, in the care when a person with advanced disease is diagnosed and is treated/cared. It because the caregiver is strongly affected by the disease and its consequences, experiencing impacts and disruptions, accompanied by much suffering and anguish; 2) The relationship between the person with the disease/caregivers and health professionals proved important, because it influences the whole end of life process and death. However, professionals also have their difficulties in dealing with suffering and human finitude. Therefore, it is essential to foreground the need to also receive care in their daily practice; 3) It was also highlighted the importance of nonpharmacological/ non-technical care in caring for family caregivers and professional caregivers. It is necessary to recover ways of listening and acceptance, in a movement to avoid the heavy reliance on technicality and to make room for subjectivities; 4) And, it is necessary to emphasize the need for the caregiver to see and perceive himself/herself throughout this process. Perceive himself as being who suffers and anguishes in front of pain and death. It is important to embraces his/her pain and anguish and, then, can grow/project himself to the numerous perspectives that the can-be human existence allows. At the end, based on findings, there is a presentation of words written directly to professionals and caregivers. Thus, this paper, while expanding understandings about the intense experience that is caring for a loved one/patient in the last moments of life, can help family caregivers and health professionals in your deep journey
Estanislau, Cristiano. "TRANSFORMAÇÕES NO MUNDO DO TRABALHO NA REGIÃO DO GRANDE ABC: UMA ANÁLISE COMPREENSIVA A PARTIR DO FILME PEÕES." Universidade Metodista de São Paulo, 2010. http://tede.metodista.br/jspui/handle/tede/169.
Повний текст джерелаWith the advent of the industrial revolution, capitalism has taken an astonishing way never seen before in other places in the world of work, to feed a fast-paced production, consumption and accumulation. This new era based on mechanization and a new division of labor imposed on the worker by the principle of fragmentation that following the chronometer model of scientific management and the production line of "butcher shop", that shared the work force and employee multiplied the accumulation of employer. However, in the 1970s capitalism has undergone a structural crisis that would transform the world of work again. This new transformation of capital based on the globalization and neo liberal concepts in order to further profitability over the labor force reached the objectivity and subjectivity of class that makes a living from working the (un) re-regulate their rights and conquests. In the world of Brazilian work changes of the world capital had their impact in the 1990s shaking entire production regions as do of Grande ABC, with structural unemployment and the restructuring process. In 2002 the filmmaker Eduardo Coutinho filmed a documentary - Peões - with 21 workers who recount their origins, their participation in the movement in the decades of 1970-1980-1990 and the outcomes of their lives making a building of itself by speaks. Thus, Peões will is for this dissertation the great link that will analysis corpus.that allow an approach between science and art. The phenomenological method will be used to analyze the present narratives for the understanding of the division of the capitalist work. This one is transforming the world of the work and it s perversely reaching the work-live-class when breaking up its subjectivity, that is explicit objectively in the fragmentation of the intersubjective relation with the others, the objects and the world. By means of the application of this method for the understanding of these narratives it was possible to reach at the following synthesis: the men and women, of Peões, had lived and still live nowadays intensely between the tenuous line of the resistance and of the submission, of the aware and alienation, blunting and the anonymity in the public sphere. It shows the importance, still in our days, of the widening of the dialectical thinking between the logic of the capitalist accumulation versus the logic of the human being survival.
Com o advento da revolução industrial o capitalismo assumiu uma forma assombrosa jamais vista anteriormente em outras passagens do mundo do trabalho, ao se alimentar de um ritmo acelerado de produção, consumo e acumulação. Esta nova era baseada na mecanização e numa nova divisão do trabalho impôs ao trabalhador o principio da fragmentação, que seguindo o modelo do cronômetro da gerência científica e a linha de produção do açougue dividiu a força de trabalho do empregado e multiplicou a acumulação do empregador. Na década de 1970 o capitalismo sofreu uma crise estrutural que viria a transformar o mundo do trabalho novamente. Esta nova transformação do capital fundamentado na globalização e nos conceitos neoliberais visando ainda mais a lucratividade em cima da força de trabalho atingiu a objetividade e a subjetividade da classe-que-vive-do-trabalho ao (des)re regulamentar seus direitos e conquistas. No mundo do trabalho brasileiro as transformações do capital mundial tiveram seu impacto nos anos 1990 abalando regiões produtivas inteiras como a do Grande ABC, com o desemprego estrutural e com a reestruturação produtiva. Em 2002 o diretor de cinema Eduardo Coutinho filmou um documentário Peões com 21 operários que narram suas origens, suas participações no movimento nas décadas de 1970-1980-1990 e os desfechos de suas vidas fazendo uma construção de si pela fala. Desta forma, Peões será para esta dissertação o corpus de análise para uma aproximação entre ciência e arte, onde será utilizado o método fenomenológico para a análise das narrativas que se apresentam para compreensão da divisão do trabalho capitalista que vem transformando o mundo do trabalho e atingindo perversamente a classe-que-vive-do-trabalho ao fragmentar sua subjetividade que se explicita objetivamente na fragmentação da relação intersubjetiva com o outro, os objetos e o mundo. Por meio da aplicação do método para a compreensão das narrativas pode se chegar à seguinte síntese: os homens e mulheres, de Peões, viveram e vivem ainda hoje intensamente entre a linha tênue da resistência e da submissão, da desalienação e alienação, do despontar e do anonimato na esfera pública evidenciando a importância ainda em nossos dias do alargamento do pensamento dialético entre a lógica da acumulação capitalista versus a lógica da sobrevivência humana.
Souza, Daniel Paulo de. "O sujeito lírico em colapso: Cecília Meireles e o fim da subjetividade na poesia." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/2348.
Повний текст джерелаCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis reflects on the nature of poetry, and also the work of Cecília Meireles, assuming that, from a phenomenological analysis that it is not possible to consider the ideas of subjectivity and lyrical subject when discussing about poetic compositions, since these notions do not represent, in fact, the poetic act, but only explain it as a rational attitude, not as a phenomenon that took place in the world. Going back to subjectivity does not mean understanding the peculiarity of this type of speech, but intends to immerse in the interiority of an "I" that does not reflect the existential movement of a new presentation of things which he performs at the moment when he is articulated in their own metaphorical significances of poetic language. Due to this, the phenomenology was chosen as a line of thought, because it suggests that there is no subject as an "absolute cogito" disconnected from the world without roots in it, but a consciousness that looks to this world with the purpose to realize it. This attitude tends to get over the relationship between "subject" and "external object" that is always taken when reading and analysis of poetic texts are the question. Merleau-Ponty, for example, investigates how the explanation of a "philosophy of subjectivity" is valid as a possible discovery that consciousness realizes itself, or simply it is a construction produced at the instant that reflection comes out and takes this consciousness as a acquisition of thought after pronouncing the "I think". Along the way, the work of Cecília Meireles is highlighted, which reveals the vivacious appearance of things, shows total admiration for the sensory spectacle offered by them and stands unique because of its look that always reveals the most unusual meanings of the world and, through a poetic speech, makes it accessible in all its visibility.
Esta tese faz uma reflexão acerca da natureza da poesia e, também, da obra de Cecília Meireles, partindo do pressuposto de que, segundo uma análise fenomenológica, não é possível levar em conta as ideias de subjetividade e de sujeito lírico ao se falar das composições poéticas, já que essas noções não representam, de fato, o ato poético, mas apenas o explicitam como uma atitude racional, não como um fenômeno sucedido no mundo. Recorrer à subjetividade não significa compreender a peculiaridade desse tipo de discurso, mas supõe mergulhá-lo na interioridade de um eu que não reflete o movimento existencial de reapresentação das coisas que ele realiza no momento em que é articulado nas enunciações metafóricas próprias da linguagem poética. Por isso escolhemos a fenomenologia como linha de pensamento, porque ela indica que não existe um sujeito como um cogito soberano desligado do mundo, sem raízes nele, mas uma consciência voltada a esse mundo a fim de percebê-lo. Essa atitude tende a superar a relação entre sujeito e objeto exterior que sempre é feita quando se fala de leitura e de análise de textos poéticos. Merleau-Ponty, por exemplo, investiga até que ponto a explicitação de uma filosofia da subjetividade é válida como uma possível descoberta que a consciência realiza de si mesma, ou apenas se trata de uma construção a que se chegou no instante em que sobrevém a reflexão e toma essa consciência como um achado do pensamento depois de se pronunciar o eu penso . Nesse percurso, destaca-se a obra de Cecília Meireles, que revela a aparência vivaz das coisas, mostra total admiração pelo espetáculo sensorial oferecido por elas e se singulariza por causa de seu olhar que sempre revela os significados mais inusitados do mundo e, por meio de um dizer poético, gestualiza-o e o faz emergir em toda a sua visibilidade.
Silva, Guilherme Ghisoni da. "As análises do tempo de Wittgenstein e o argumento da linguagem privada : o fim da memória como parte da estrutura lógica do mundo." Universidade Federal de São Carlos, 2011. https://repositorio.ufscar.br/handle/ufscar/4796.
Повний текст джерелаUniversidade Federal de Minas Gerais
The aim of this thesis is the study of Wittgenstein s analyses of time, during the middle period, and the connections of those analyses to the private language argument. This study showed the importance granted to memory, in 1929-1930, which allowed using it as a key concept for the understanding of a major change that happened to Wittgenstein s philosophy in the early thirties (the abandonment of the thesis of the complete determination of sense). The understanding of this abandonment, through the perspective of the analyses of time, taking memory as a key concept, was used as a backdrop for the comprehension of some important passages from the book Philosophical Investigations, in which Wittgenstein deals with the problem of the language of sense-data and private experience.
O objetivo desta tese é o estudo das análises de Wittgenstein sobre o tempo, no período intermediário, e as conexões entre essas análises e o argumento da linguagem privada. Esse estudo revelou a importância do papel concedido à memória, em 1929- 1930, de tal modo que a utilizamos como chave de leitura para a compreensão de uma grande mudança ocorrida no pensamento do autor, no início da década de trinta (o abandono da tese da plena determinação do sentido). Essa compreensão da ruptura, pelo viés das análises do tempo, priorizando o papel da memória, foi tomada como pano de fundo para o entendimento de alguns importantes trechos, no livro Investigações Filosóficas, nos quais Wittgenstein explora o problema da linguagem dos dados sensoriais e a experiência privada.
ROSSI, STEFANO FABIO. "«SOLO CIÒ CHE FRUTTIFICA E' VERO» FENOMENO E STRUTTURA IN HEINRICH ROMBACH." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/35770.
Повний текст джерелаThe thesis takes into consideration the work of H. Rombach (1923-2004) as a development of some Heideggerian intuitions, along with the recovery of some aspects of the German philosophical tradition that the great fame of Heidegger has contributed to obscure
CABRA, GIULIA. "INTERSOGGETTIVITA', AMORE ED ETICA IN E. HUSSERL. DALLA PORTATA ETICA DELL'ESPERIENZA INTERSOGGETTIVA ALLA RILEVANZA INTERSOGGETTIVA DELL'AMORE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2020. http://hdl.handle.net/10280/84468.
Повний текст джерелаEdmund Husserl treats ethics and intersubjectivity separately and with different purposes. At the same time, he disseminates clues of their interconnectedness throughout his works. In my dissertation, I aim to elucidate how to interpret their connection. In particular, I argue that Husserl’s insistence on the value of relationship and on the duty to promote it indicates that the subject can actively realize the intersubjective dimension in which it is situated only through a choice in favour of the relationship. This choice presupposes the experience of the value of the other. I thus ask which are the conditions of the experience of the axiological and ethical relevance of the other and of the relationship with it. To answer this question, I turn to two areas of Husserl’s transcendental phenomenology: his theory of intersubjectivity and his ethical analyses. Through the first, I assess whether the constitutive levels of intersubjective experience have axiological relevance. However, given the limits pertaining to an ethical consideration of his theory of intersubjectivity, I move to Husserl’s ethical analyses for further insights. These analyses show that the value of the other and the duty towards it are captured by the emotional act of love, and that love is in turn grounded on grasping the other as a transcendental subject. I thereby shed light on the interconnectedness of Husserl’s ethics and theory of intersubjectivity.
Eymas, Fabien. "Une proposition de refondation de la dynamique concurrentielle à travers une étude phénoménologique du comportement concurrentiel du dirigeant de TPE." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080033.
Повний текст джерелаThis research is based on the difficulties of the Awareness – Motivation – Capability model to understand the competitive behaviour of small businesses. This model does not take into account that the preponderance of the executive in the VSE requires to situate its analysis at the individual level. Researches in competitive dynamics has mainly focused on the coopetitive and, above all, rivalrous relations between firms, which makes the competitive interaction the basic unit of analysis of the field and the rival the key stakeholder of the definition and implementation of the business strategy. A365holistic approach of the corpus shows that the executive of VSE gives a prominent place to their customers to set up their competitive actions. An idiosyncratic approach to executives’ discourses makes it possible to draw five forms of competitive behaviours and six profiles of VSE executives according to the main focus of their attention in the definition and deployment of their actions. Four VSE executives are mainly driven by the interactions they have with their stakeholders: competitors, customers and suppliers. Two others are more self-centred (on the concept they created or on their competences). In the final analysis, it appears that these forms of competitive behaviour are related to the ways VSE executives’ reason
Leyssen, Sigrid. "Perception in Movement. Moving Images in Albert Michotte's Experimental Psychology (1881-1965)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0142.
Повний текст джерелаI explore new ways to study the history and historicity of perception, through a double portrait: of the francophone psychologist Albert Michotte, and of a set of well-preserved rotating paper discs. In their interaction, new experimental images were generated, shedding light on the intricacy of perception. I have searched different archives, object-archives and instrument collections in Belgium, France and Germany. Newly discovered sources, together with my historical re-animations, allowed me to combine history of science with media studies, in close interaction with the history of philosophy and religion.The portrait of Michotte shows a bridging-figure between different psychological paradigms, science and religion, filmology and experimental phenomenology, performing science diplomacy to navigate two wars, religious politics and institutional change. Studying the paradoxes he embodied is developed into a historiographical tool. The portrait of the discs, contextualised in terms of 'action contexts', shows how they related to experimental practice, cinema, art and the material culture of the laboratory. This dynamic double portrait shows how Michotte and the discs together create moving images for the study of dynamic perceptions, such as the perception of causality. Motion is central to this thesis, not only for explaining the dynamic perception of movements, but especially for understanding how such perceptions are generated and transported. Studying these 'movement-perceptions' makes it possible to grasp how perception is context dependent, how it is shaped through inter-actions, and how it changes – giving it a history
Georgiou, Jonathan. "Exploring the benefits of attracting, recruiting and retaining mature age employees up to and beyond the traditional age of retirement: Perspectives from Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1632.
Повний текст джерелаNoordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
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