National Myths and Heroes: a Case of Vytautas the Great in Lithuania

The main focus of the thesis concentrates on nationalism and how it is expressed through national myth and a hero. As a case study for Lithuania the cult of Vytautas the Great is used. Theses present how the myth of Vytautas the Great was created and why particularly the Grand duke became a national symbol. It also examines how main nationalism theories are reflected in this case. The main purpose of the thesis is to find out how this myth matches the needs of the current Lithuanian society – the last year schoolchildren (eighteen – nineteen years old) in particular. The main method used in the empirical part of the thesis is qualitative analysis: primary source material was gathered by using semi – structured interviews and the results were analyzed by employing thematic analysis. The theoretical part of the study presents the core nationalism and ethnic identity theories and describes the concepts of national myth and hero as well as their connection and influence for the society and Lithuanians precisely. In this study nationalism is understood as a phenomenon that holds a nation together and is reflected via certain national symbols such as national myths and heroes by forming a national identity the meaning of which is different for each generation. The analysis of the results in this study has showed that the idea of Vytautas the Great as a national hero – symbol, created in the interwar Lithuanian society has lost its significance for the current schoolchildren and has been replaced by other images. However, at the same time the Grand duke is still perceived as an embodiment of the main national Lithuanian virtues.

Estudo sobre as potencialidades de compósitos à base de gesso e fibras de coco seco para aplicação na construção civil

The use of gypsum, one of the oldest building materials for the construction industry in the country has been experiencing a significant and steady growth, due to its low cost and some of its properties that confer comparative advantage over other binder materials. Its use comprises various applications including the coating of walls and the production of internal seals and linings. Moreover, the fibers are being increasingly incorporated into arrays fragile in an attempt to improve the properties of the composite by reducing the number of cracks, the opening of the same and its propagation velocity. Other properties, depending on the function of the component material or construction, among these thermal and acoustic performances, are of great importance in the context of buildings and could be improved, that is, having better performance with this embodiment. Conduct a comparative study of physico-mechanical, thermal and acoustic composite gypsum incorporating dry coconut fiber, in the form of blanket, constituted the main objective of this work. Improving the thermal and acoustic performances of precast gypsum, used for lining and internal vertical fences of buildings, was the purpose of development of these composites. To evaluate the effect of fiber content on the properties of the composites were used to manufacture the composite layer with different thicknesses. The composites were fabricated in the form of plates with dimensions of 500x500x24mm. To facilitate the comparative study of the properties were also made with material gypsum boards only. We then determined the physico-mechanical, thermal and acoustical plaster and composites. The results indicated that the composites were significant gains in relation to thermal performance and also acoustic, in certain frequency range, increasing the thickness of the blanket. Concerning other physical-mechanical properties, the results showed that although the compressive strength was lower than for the composite did not occur after a fracture catastrophic failure. The same trend was observed with regard to resistance to bending, since the composites have not suffered sudden rupture and still continued after the load supporting point of maximum load

The ethos of the mover/witness dyad: an experimental frame for participatory performance

This article reflects on a dance improvisation project in which the foundational relationship of the Mover Witness Dyad (MWD), the private exchange between mover and witness (and more commonly known as Authentic Movement) became an ethical and physical paradigm for an improvised performance. The untitled performance (conceived by Shaun McLeod and danced by Olivia Millard, Peter Fraser, Jason Marchant, Sophia Cowen and Shaun McLeod) took place over three nights in Melbourne in November 2014. It was specifically informed by the experiences, observations and questions drawn from an extensive studio practice of the MWD by the dancers. The practice of the MWD is a therapeutic relationship between contemplative mover and attentive witness. Falling within the wider field of Dance Movement Therapy, the MWD has uses as a therapeutic aid, in personal development and also as a context for exploring dance improvisation. An important feature of the MWD is that attention, in whatever manifestation, is directed inwardly and is engaged bodily. The form parallels dance improvisation in its emphasis on open, exploratory movement, which is grounded in the particular sensibility each individual brings to embodiment. Never intended as a performance practice, the MWD has nonetheless been used by dancers as a method for investigating dancing and towards informing or generating performance content. This project threw up considerations of values; in this case values associated with audience participation and the ethics of ‘witnessing’ improvised dance.

Now again

Now Again is a participatory performance made up of a series of individual and group activities that create opportunities to notice how we fit and shift in our environment. Reflecting the dance histories of the artists, the variable dynamic possibilities of the city are brought into focus through specific ‘scores’ that, as propositions for engagement, activate simple movement patterns or observations. The aim is to allow responsive noticing of the immediate environment, but also to enliven it in unexpected ways. Individuals who are participants and observers, dedicated or incidental (passers-by), become part of the disclosure of the physical and the social. The rigid structure of the city is re-imagined as a fluid, choreographic entity invested with organic qualities. Performances move between a series of city locations, each with differing activities. Designated ‘nodes’ in the city grid (certain streets, a square, a doorway, footpath, a hole in a wall or a particular tree), have been chosen for their imaginative, affective, or energetic resonances. These are ‘mapped’ by the perambulatory, physical, sensory, and relational engagement of all participants. This is a collective dance created through noticing the feelings and patterns of the physical self in the built, natural, and social environment. In some sites, the artists perform, while in others they lead a participative performance. Ephemeral, self-led, performance experiments designed to disappear into the fabric of the city, will also be invited. A mobile app enables audience participation. The app employs GPS data to trigger information specific to that site (written prompts, sounds and scored provocations).

Encrypted landscapes, nation-states : The Australian National Botanic Gardens, Canberra

As visitors perambulate around the Australian National Botanic Gardens, in Canberra, relationships among citizens, environments, and the nation-state are enacted: The central is emphasized over the peripheral, the Canberran space is depicted as a literal miniature model of the wider nation, science is privileged in the design of that representation, and "nature" is appreciated as isolatable from humans but controllable by them. As with other architectural aspects of Canberra, assumptions about the relative relationships among elements of the state are reflected in the spatial positioning and delineation of the items and embodied in those who move in and around them.

Improvisation in visual art practice using a photographic process

In this article I discuss how I have come to understand embodied processes in my visual art practice using photography. I danced professionally for 25 years and performed in various contexts including classical ballet repertoire, contemporary dance, and commercial dance. I choreographed for various productions working with a group of dancers for seven years before studying visual art. I experienced a particular sense of embodiment as a live performer in which prescribed movements were learnt, performed and repeated as if second nature. Transitioning into a conceptually based visual art practice the creative process was flipped around. Using painting, sculpture, performance (in a different context) and photographic methods I explored ideas from which forms such as video/audio installations, photography, performance art and painting emerged mostly in a gallery context. Although I still think of forms of movement as content, in a visual art practise the idea or concept invokes form.

Mean girls, homosociality and football: an education on social and power dynamics between girls and women

Relationships between girls and women have typically been explored through the lexicon of ‘friendship’ or, where there is a presence of sexual desire, ‘lesbian’. This article suggests the complexity and impact of female (same-sex) sociality, and its relationship to heteronormativity and power dynamics between girls and women runs deeper than the terms ‘friendship’ or ‘lesbian’ give rise to. Exploring social and power dynamics amongst girls and women, this article explores how gender is policed and negotiated within a framework of homosociality. Drawing on empirical research within a women's Australian Rules football team, I explore the complexity of female same-sex bonds, the negotiation of gender embodiment and performance within female homosocial spaces, and the emergence of women's own lexicons in making sense of their relationships with other women in this particular social sphere, further considering how this might be applied to other female homosocial spaces, including same-sex educational and sporting sites.

Breathing in the atmosphere : affect and improvised dance performance

Whether conceptually or experientially atmospheres are hazy. Atmospheric situations often emerge without us being able to control or fully apprehend the conditions of their emergence. Atmospheres affect us not at the cognitive level but through embodiment - through the sensory capacities of our bodies and subsequent registers of affect. We feel atmospheres. Dance improvisers also feel what emerges in an improvisation, whether as the adrenalizing effect of the audience’s presence or because the dancer is immersed in their own movement (as the affect of interest). But dance improvisation is a situation in which atmospheres (and their affective impacts) emerge in unpredictable ways. Becoming attuned to ‘what is going on’ is an aspect of improvisational skill but improvised performance is also an exposure to ‘not knowing’ – not knowing what will happen (or how it will change), not knowing what motivated the movement. This exposure to ‘forces of not knowing’ is similar to many atmospheric situations in everyday life which we negotiate according to personal habits and personal levels of discernment. This performative paper picks up on Gernot Bőhme’s concept of a “new aesthetics” such that hazy atmospheres, and the uncertainty of where they come from, can be claimed as part of an aesthetic encounter. It also reflects on the act of breathing as a potential interface between aesthetic and scientific definitions of ‘atmosphere’.

Technology as collaborator in somatic photographic practice

This visual essay will address several areas of research. First, it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the interrelationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. The following images were conceived through a performative somatic process, which I define in the course of this article. Through using a custom made camera I was able to negotiate time and space to create visual drawings that talk to both choreography and fine art practice.

Virtual worlds as pedagogical places: experiences of higher education academics

This thesis explores how academics in higher education experience virtual worlds as pedagogical places. Using the virtual world Second Life™ as a lens, I examine the changing nature of embodiment, pedagogy and place for academics and the significance these changes have for academic identity and practices.

Une théologie de l’intime chez le baby-boomer québécois francophone issu de la tradition catholique : démarche qualitative descriptive

S’il est établi que le baby-boomer québécois francophone issu de la tradition catholique s’est distancié de cette dernière, nous observons aussi qu’il continue à s’y identifier à chaque recensement. Ce mémoire propose une démarche et des outils permettant de décrire l’expérience de foi de celui-ci. Il s’agit de la théologie de l’intime, dont la genèse et son expérimentation sont présentés dans le cadre d’une recherche conduite auprès de sujets appartenant à cette population. Cette approche s’articule à travers trois dialogues complémentaires et interdépendants : la quête de l’essence, la démarche d’incarnation et le défi identitaire. L’expérimentation démontre que le caractère pluridisciplinaire de la théologie de l’intime réussit à décrire de façon congruente l’expérience de foi de baby-boomers dont elle confirme aussi la cohérence, malgré le constat d’un décalage doctrinal avec le catholicisme. Le mémoire conclut en proposant d’autres perspectives d’application de la théologie de l’intime.

Une théologie de l’intime chez le baby-boomer québécois francophone issu de la tradition catholique : démarche qualitative descriptive

S’il est établi que le baby-boomer québécois francophone issu de la tradition catholique s’est distancié de cette dernière, nous observons aussi qu’il continue à s’y identifier à chaque recensement. Ce mémoire propose une démarche et des outils permettant de décrire l’expérience de foi de celui-ci. Il s’agit de la théologie de l’intime, dont la genèse et son expérimentation sont présentés dans le cadre d’une recherche conduite auprès de sujets appartenant à cette population. Cette approche s’articule à travers trois dialogues complémentaires et interdépendants : la quête de l’essence, la démarche d’incarnation et le défi identitaire. L’expérimentation démontre que le caractère pluridisciplinaire de la théologie de l’intime réussit à décrire de façon congruente l’expérience de foi de baby-boomers dont elle confirme aussi la cohérence, malgré le constat d’un décalage doctrinal avec le catholicisme. Le mémoire conclut en proposant d’autres perspectives d’application de la théologie de l’intime.

Bestiary of the virtual correspondents

This lyric sequence takes the relation of distant email correspondents as a conceit through which to explore the metamorphic, or even zoomorphic, transformations effected by reading and writing as intimate activities. Here amorous yearnings between women are celebrated for their transformative potential.

Merleau-Ponty's conception of dialectics in phenomenology of perception

Although the fact that Merleau-Ponty has a dialectical approach in Phenomenology of Perception has been discussed in recent Anglophone readings, there has not been an explicit clarification as to how his varying usages of the term hang together. Given his repeated references to Hegel and to dialectics, coupled with the fact that dialectics are not part of the Husserlian phenomenology or Heideggerean existentialism from which Merleau-Ponty draws so much, the question of just what he does with the idea of dialectics presents itself. In this paper I argue that, in Phenomenology of Perception, Merleau-Ponty saw Hegel as providing a model for the conception of rationality and meaning that must underpin the existentialist response to the problems bequeathed him by Husserlian phenomenology: namely, the problems of embodiment, perception and the constitution of the world. In connection with this, I suggest an interpretation of Merleau-Ponty's “existential dialectics” that focuses on his three principal uses of the term: 1) a “dialectic of objective thought,” 2) a set of existential-dialectical categories intended to capture the ontological structure of the “body-subject” as “being-in-the-world,” and 3) a dialectic at the cultural level concerning others and history.

The difference of Being in the early modern world: a relational-material approach to life in Scotland in the period of the witch trials

This thesis investigates how ways of being in different ontologies emerge from material and embodied practice. This general concern is explored through the particular case study of Scotland in the period of the witch trials (the 16th and 17th centuries C.E.). The field of early modern Scottish witchcraft studies has been active and dynamic over the past 15 years but its prioritisation of what people said over what they did leaves a clear gap for a situated and relational approach focusing upon materiality. Such an approach requires a move away from the Cartesian dichotomies of modern ontology to recognise past beliefs as real to those who experienced them, coconstitutive of embodiment and of the material worlds people inhabited. In theory, method and practice, this demands a different way of exploring past worlds to avoid flattening strange data. To this end, the study incorporates narratives and ‘disruptions’ – unique engagements with Contemporary Art which facilitate understanding by enabling the temporary suspension of disbelief. The methodology is iterative, tacking between material and written sources in order to better understand the heterogeneous assemblages of early modern (counter-) witchcraft. Previously separate areas of discourse are (re-)constituted into alternative ontic categories of newly-parallel materials. New interpretations of things, places, bodies and personhoods emerge, raising questions about early modern experiences of the world. Three thematic chapters explore different sets of collaborative agencies as they entwine into new things, co-fabricating a very different world. Moving between witch trial accounts, healing wells, infant burial grounds, animals, discipline artefacts and charms, the boundaries of all prove highly permeable. People, cloth and place bleed into one another through contact; trees and water emerge as powerful agents of magical-place-making; and people and animals meet to become single, hybrid-persons spread over two bodies. Life and death consistently emerge as protracted processes with the capacity to overlap and occur simultaneously in problematic ways. The research presented in this thesis establishes a new way of looking at the nature of Being as experienced by early modern Scots. This provides a foundation for further studies, which can draw in other materials not explored here such as communion wares and metal charms. Comparison with other early modern Western societies may also prove fruitful. Furthermore, the methodology may be suitable for application to other interdisciplinary projects incorporating historical and material evidence.