Made available in DSpace on 2016-04-28T19:34:48Z (GMT). No. of bitstreams: 1 Maria de Fatima Mendes.pdf: 31587343 bytes, checksum: 4361c06befa3923e03eeb1c5a75ab12d (MD5) Previous issue date: 2010-06-01 / Secretaria da Educação do Estado de São Paulo / This thesis belongs to the line of research History and Description of the Portuguese Language and focuses on the linguistic and argumentative resources used by Tomás Antônio Gonzaga, in his Cartas Chilenas, by means of a Linguistic Historiography, following the principles of contextualization, immanence and adequacy, proposed by Konrad Koerner (1996). Therefore, it is a study that addresses the arguments and figures of speech present in the poem gonzaguiano, to observe how these categories can move the passions in the listener, with the intention of alerting and becoming aware people from Minas Gerais state in the mid-eighteenth century with regard to the events. These elements are studied in light of the works of George Campbell and Luis Antônio Verney, philosophers of the eighteenth century. In this case, the principle of immanence is followed. The author s spirit of time is reconstructed, so the principle of contextualization is respected. For the modern reader s better understanding is presented the work Tratado da Argumentação: A Nova Retórica of Chaim Perelman and Lucie Olbrechts-Tyteca to demonstrated how these categories are seen nowadays. Thus, the principle of adequacy is also applied. The research aims to examine, based on the presuppositions of the Linguistic Historiography, the relation between the linguistic marks of the Cartas Chilenas and the Brazilian historical context of the eighteenth century, to identify the argumentative resources used by Tomás Antônio Gonzaga and to point the particularities of the argumentation and of the figures of speech, in the work, starting from Classic Rhetoric Considering the results, we can say that, in the analyzed work, Gonzaga looked for in the enlightenment ideals subsidies to write his poem denouncing the despotism in the eighteenth century in that Brazil was still controlled by Portugal. The comical and satirical aspect was also an argumentative strategy used by the poet in order to attack the corruption in Villa Rica due to governor Cunha Meneses s bad administration. For persuading the reader, the poet used the arguments of probability or verisimilitude; of plausibility; the importance of ideas; the proximity of time;f the connection of place; the relation of the persons and the interest in the consequences, as the figures climax, correction, vision, exclamation, apostrophe, question mark, antonomasia, synecdoche, metonymy, euphemism, antithesis, repetition and amplification. The study also shows that the Cartas Chilenas reflect the ideology of the time / Esta tese insere-se na linha de pesquisa História e Descrição da Língua Portuguesa e focaliza os recursos linguísticos e argumentativos utilizados por Tomás Antônio Gonzaga, em sua obra Cartas Chilenas, numa abordagem da Historiografia Linguística, seguindo os princípios da contextualização, imanência e adequação, propostos por Konrad Koerner (1996). Assim, é um estudo em que se abordam os argumentos e as figuras de retórica presentes no poema gonzaguiano, para observar como essas categorias podem mover as paixões no ouvinte, com a intenção de alertar e conscientizar a população mineira dos meados do século XVIII com relação aos acontecimentos. Esses elementos são estudados à luz das obras de George Campbell e Luís Antônio Verney, filósofos do século XVIII. No caso, o princípio da imanência é seguido. Para se situar o autor e sua obra, o espírito de época é reconstruído, portanto, o princípio da contextualização é respeitado. Para o entendimento melhor do leitor moderno é apresentada a obra Tratado da Argumentação: A Nova Retórica de Chaïm Perelman e Lucie Olbrechts-Tyteca que mostra como essas categorias são vistas atualmente. Assim, o princípio da adequação é também aplicado. A pesquisa tem como objetivos examinar, com base nos pressupostos da Historiografia Linguística, a relação entre as marcas linguísticas das Cartas Chilenas e o contexto histórico brasileiro do setecentismo, identificar os recursos argumentativos utilizados por Tomás Antônio Gonzaga e apontar as particularidades da argumentação e das figuras de retórica, na obra, a partir da Retórica Clássica. Considerando os resultados obtidos, pode-se afirmar que, na obra analisada, Gonzaga buscou nos ideais iluministas subsídios para escrever seu poema, denunciando o despotismo vigente do século XVIII, em que o Brasil ainda estava em poder de Portugal. O aspecto cômico e satírico foi também uma estratégia argumentativa utilizada pelo poeta com o objetivo de atacar a corrupção existente em Vila Rica devido à má administração do governador Cunha Meneses. Para obter a persuasão do leitor, o poeta utilizou-se dos argumentos de probabilidade ou verossimilhança; de plausibilidade; da importância das ideias; da proximidade do tempo; da conexão de lugar; da relação das pessoas interessadas e do interesse nas consequências, assim como as figuras clímax, correção, visão, exclamação, apóstrofe, interrogação, antonomásia, sinédoque, metonímia, eufemismo, antítese, amplificação e repetição. O estudo mostra também que as Cartas Chilenas refletem a ideologia da época

Made available in DSpace on 2016-04-27T17:27:12Z (GMT). No. of bitstreams: 1 Valmir de Costa.pdf: 845356 bytes, checksum: b2dcc944aeefba44d5650627ccdeb72a (MD5) Previous issue date: 2015-11-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis aims to contribute to the deepen uhe understanding of immnence in the thought of Husserl, its length and constituition, fundamentally, from descriptive psychology (1900) and transcendental philosophy (1913). Phenomenology is characterized by the free exercise of reason, which through its own research method, performs ideal self apprehension of pure objects in consciousness. The immanence designates a region to be in those objects that assume the conditions of possibility of a pure manifestation, constituting the very identity of phenomenology as the theory of knowledge. Conceptually, at the beginning of phenomenological research, the immanence of psychic acts is opposed to all kinds of transcendent objects to those acts, which turns out to phenomenology as science of ideal objects (First and Second Chapters). His method of investigation, as determined by the specificity of its object, differs totally from the method of the natural sciences. Phenomenology, by the method of reduction and intuition, investigates the region to be the transcendent consciousness to the world with their pure and ideal objects, which, by their levels of incorporation and links actually the philosophical discourse to a rigorous science. The natural sciences, the empirical and deduction methods, are immanent to the world and constitute a 'real' objective relationship with his research object, therefore relative (Third Chapter). It will be seen that the immanence of the status of the position of pure object is consolidated, conversely, by the suspension of the entire thesis of the world, as opposed by epistemological phenomenology to empiricism. Husserl, in his way of consolidation of phenomenological research, constitutes, according to the evolution of his thinking, different levels of description of the acts of consciousness. He leaves thus the origin of a real immanence (Real), the logical inheritance and psychologism, through immanence 'Reell', referring to the descriptive psychology, to reach its highest level of development, with the pure immanence. If the level of last description that aims to phenomenology is achieved only when it comes to the transcendental, as a definitive break from all order of nature, the 'reduction' is the inaugural gesture that takes place every phenomenological analysis (Four Chapter). The immanence seeks to resolve a problem which, in the phenomenological theory, breaks the link with the world, is indispensable to the establishment of its meaning, manifested only by an absolute being. The apprehension of being in the world is only possible as well, in suspension and consequent denial. Phenomenology becomes thus a strict science of pure objects held by the inaugural gesture of epoché in the world, reduced their intentional manifestation, it consists, for an idea of time itself, transcendentally in consciousness (Fifth Chapter). The immanence of the statute is effected itself in the psychology which turns into pure phenomenology, and this to transcendental philosophy / A presente tese pretende contribuir para o aprofundamento da compreensão da imanência no pensamento de Husserl, sua extensão e constituição, fundamentalmente, da psicologia descritiva (1900) à filosofia transcendental (1913). A fenomenologia se caracteriza pelo exercício livre da razão, que através de um método de investigação próprio, executa a autoapreensão ideadora de objetos puros na consciência. A imanência designa uma região de ser em que os objetos assumem as condições de possibilidade de sua manifestação pura, constituindo a própria identidade da investigação fenomenológica como teoria do conhecimento. Conceitualmente, no início de sua investigação, a imanência dos atos psíquicos se contrapõe a toda ordem de objetos transcendentes a tais atos, o que acaba por constituir a fenomenologia como ciência de objetos ideais (Primeiro e Segundo Capítulos). Seu método de investigação, determinado pela especificidade de seu objeto, se distingue totalmente do método das ciências da natureza. A fenomenologia, pelo método da redução e da intuição, investiga a região de ser da consciência transcendente ao mundo, com seus objetos puros e ideais, em que, pelos seus níveis de constituição e verdade, vincula o discurso filosófico a uma ciência de rigor. As ciências da natureza, pelo método empirista e da dedução, são imanentes ao mundo e constituem uma relação objetiva real de investigação com seu objeto, por isso relativa (Terceiro Capítulo). Ver-se-á que a posição do estatuto da imanência de objetos puros se consolida, inversamente, pela suspensão de toda tese do mundo, como contraposição epistemológica da fenomenologia ao empirismo. Husserl, em seu percurso de consolidação da investigação fenomenológica, constitui, conforme a evolução de seu pensamento, níveis distintos de descrição dos atos de consciência. Parte, assim, na origem, de uma imanência real (Real), herdeira da lógica e do psicologismo, passando pela imanência Reell , referente à psicologia descritiva, até chegar a seu nível mais alto de elaboração, com a imanência pura. Se o nível de descrição último que visa à fenomenologia é alcançado somente quando se chega ao transcendental, como ruptura definitiva de toda ordem de natureza, a redução é o gesto inaugural em que se realiza toda análise fenomenologia (Quarto Capítulo). O estudo da imanência procura dirimir um problema, de que, na teoria fenomenológica, a ruptura do vínculo com o mundo é indispensável à constituição de seu sentido, manifestada, unicamente, por um ser absoluto. A apreensão do ser do mundo só é possível assim, por sua suspensão e consequente negação. A fenomenologia torna-se, desse modo, uma ciência estrita de objetos puros, realizada pelo gesto inaugural da epoché, em que o mundo, reduzido a sua manifestação intencional, é constituído, por uma ideia de tempo própria, transcendentalmente na consciência (Quinto Capítulo). O estatuto da imanência é o próprio resultado em que a psicologia se transforma em fenomenologia pura, e esta em filosofia transcendental

<p>This essay examines the adaptation of <em>The French Lieutenant’s Woman;</em> proclaiming that it is based on the same core of meaning as the novel. This core, or interiority, of the art work, is the <em>freedom</em> which Sarah Woodruff presents. The interiority is immanent within the novel as well as the film. The freedom that Sarah presents creates <em>gaps in time</em> and is mainly <em>freedom from time</em>. From an exterior perspective though, these art works look different. The exteriority is visualized and described by being denominated as different narrative levels. In the film Mike falls in love with Sarah as an escape from his own time, one that is characterized by more lenient moral views than those prevalent in the Victorian Age. This present-day character is not, of course, in the novel but is invented by Harold Pinter as part of a metaphor for Fowles’ metafictional stance. In the novel, freedom is partly represented by an extradiegetic narrative level and suggested in various comments made by the apparent author of the work: John Fowles. This essay highlights the contrasts between the fictive world (on a hypodiegetic level), and the real world (on a diegetic level). By doing this, this essay suggests a motive for Pinter’s “narrative innovation” as a “brilliant metaphor” for Fowles´ novel. With these contrasts we find that the restraints of a seemingly open society (the 1980s in which Pinter was writing the screenplay) are able to contain an inner, rather implicit, restraint for the individual of the 1980s. The longing for freedom is triggered as soon as man is deprived of freedom, irrespective of how and when. Sarah is an escape from Victorian Age for Charles, at the same time as she is an escape from the 1980s for Mike. On the whole, Sarah is an escape from the linearity of all time. Freedom is immanent with both of the artworks, yet they are completely different, seen from outside.</p><p> </p><p> </p>

This dissertation identifies and investigates the characteristics of the early 21st-century social, economic, and political situation as intrinsically connected and grouped under the concept of corporatism. Starting from Gilles Deleuze and Félix Guattari’s schizoanalysis of capitalism, this thesis argues that corporatism or corporate capitalism is immanent: an interconnected, networked, rhizomatic system that has been successful at overtaking biopower – life in all its forms, human and otherwise – and managing it, or even making it its business. Methodologically, this dissertation aims to move beyond negative into creative critique, whose role is the uncovering of imagined or real alternatives to the problems of corporatism. Consequently, this dissertation is divided into four chapters that attempt to bring this methodology to life. Chapter 1 presents the theoretical basis of corporatism, modeled on the theories of Gilles Deleuze and Félix Guattari. Chapter 2 begins to exemplify corporatism by investigating three corporate examples. This chapter sheds light on the real-life functioning of three corporations, Hudson’s Bay Company, Walmart, and Unilever, while also connecting them to the theoretical genealogy of human social systems described by Deleuze and Guattari. Chapter 3 turns to literature as both a diagnostician of the contemporary corporatism, as well as an imaginative solution-provider. While not instrumentalizing literature, this chapter rather looks to three novels for both descriptions of the corporatist social machine and prescriptions on how to attempt to change it. The novels featured in this chapter are aligned with the creative critique methodology: from the negative and even reactionary critique of William Gibson’s Pattern Recognition, through the problems with the contemporary episteme illustrated by Margaret Atwood’s dystopic Oryx and Crake, to the alternative outlined by Scarlett Thomas in PopCo. Chapter 4 investigates real-life experiments in order to assess their viability in altering the present conditions of life. To this end, the last chapter couples theoretical Deleuze-Guattarian alternatives with two locavore books: Animal, Vegetable, Miracle: A Year of Food Life by Barbara Kingsolver, with Steven L. Hopp and Camille Kingsolver, and The 100-Mile Diet by Alisa Smith and J.B. MacKinnon. / English

This essay examines the adaptation of The French Lieutenant’s Woman; proclaiming that it is based on the same core of meaning as the novel. This core, or interiority, of the art work, is the freedom which Sarah Woodruff presents. The interiority is immanent within the novel as well as the film. The freedom that Sarah presents creates gaps in time and is mainly freedom from time. From an exterior perspective though, these art works look different. The exteriority is visualized and described by being denominated as different narrative levels. In the film Mike falls in love with Sarah as an escape from his own time, one that is characterized by more lenient moral views than those prevalent in the Victorian Age. This present-day character is not, of course, in the novel but is invented by Harold Pinter as part of a metaphor for Fowles’ metafictional stance. In the novel, freedom is partly represented by an extradiegetic narrative level and suggested in various comments made by the apparent author of the work: John Fowles. This essay highlights the contrasts between the fictive world (on a hypodiegetic level), and the real world (on a diegetic level). By doing this, this essay suggests a motive for Pinter’s “narrative innovation” as a “brilliant metaphor” for Fowles´ novel. With these contrasts we find that the restraints of a seemingly open society (the 1980s in which Pinter was writing the screenplay) are able to contain an inner, rather implicit, restraint for the individual of the 1980s. The longing for freedom is triggered as soon as man is deprived of freedom, irrespective of how and when. Sarah is an escape from Victorian Age for Charles, at the same time as she is an escape from the 1980s for Mike. On the whole, Sarah is an escape from the linearity of all time. Freedom is immanent with both of the artworks, yet they are completely different, seen from outside.

This master work analyzes relationship between philosophy and creation developed in the works of Gilles Deleuze. This French philosopher thinks in postnietzschean paradigm. He develops philosophy of becoming, taken from Nietzsche. Deleuze rejects thinking of identity, saying that creation is the first princip, whereas identity is the second. He uses the idea of overturned Platon, so his main purpose is to open new perspectives of thinking. Another aspect of difference is considered with Felix Guattari by model of rhizome, what pressupose an open system in mind and in philosophy, too. Creation in philosophy involves three great aspects: creation of concepts, setting up the plane of immanence, inventing conceptual personae. As Deleuze and Guattari insists, philosophy is not contemplation, reflection or communication, but creation of concepts, that are always new. Concepts a not given; it must be created. Concepts opens and acts onto the plane of immanence, what means that philosophy must act only immanently, without any trancendent pressupposition. The conceptual personae produces the plane of immanence and gives to the concepts their specific force. Otherwise, inventing of conceptual personae shows the relationship between philosophy and experience of philosopher or what mode of existence every thinker invents. Creation in philosophy requires experimentation and good taste. There is no abstract thruth: every thruth is created and acts only immanently. Deleuze and Guattari... [to full text]

No description available.

In this thesis, I explore how the logic and mobilization of critique as an emancipatory practice, situated within various historical inheritances of the Enlightenment project, enable/delimit ‘Western’ political imaginations. I therefore question how discourses and practices of critique not only reproduce but become functional to that which they seek to transform. That is, through its conventional fault-finding role, how does critique regulate (un)acceptable ways of thinking? By resituating critique as integrally constitutive of our inheritances, rather than an exceptional instrument of correction or virtue, this methodological reorientation has the potential to foster explorations that are grounded within, as opposed to transcendentally outside, our complex sites of inheritances. In this way, it is an inquiry into the histories and politics of Western projects of emancipation and progress as captured by practices, methods, and subjects of critique within various influential traditions.

This thesis is an investigation of how spiritual ideas have contributed to West Australian academic and artist Tom Gibbons’s approach to Modernism. Against the backdrop of the local context I show how Gibbons’s 1950s undergraduate and 1960s post-graduate studies in the area of the occult and esoteric influences on Early Modernism provided him with an atypical perspective on Modernism itself but that this perspective resulted in his development of a Modernist sensibility particularly suitable for the type of questions asked about art in the later part of last century. My thesis traces Gibbons’s development of an integrated aesthetic “theory” that bridged for him the gap between a host of contrary sources. For Gibbons the bridge between divergent views on art, from the Modern period to the Renaissance period, is an ahistorical perspective based on Christian Immanence. He thus adopted a perspective that redefined the metaphysical aspects of Modernist abstraction through a particular approach to realism which celebrates the everyday world because of the Christian structures that for him condition it. I argue that his sensibility, which combines the stylistic features of a Modernist literature witty juxtaposition, irony and paradox with the concept of Christian Immanence, resulted in an oeuvre which can be read as a particular example of what Ken Wilber in the late 1990s termed Integral Studies. I argue that underlying Gibbons’s use of Christian Immanence is the Integralist’s understanding that the world’s great philosophical and spiritual traditions approach consciousness and experience through similar ideas. The argument presented, in agreement with writers such as Wilber, is that Gibbons’s capacity to develop a sense of life’s irony and metaphor, and to then use this as a capacity to embrace the beauty and outrageousness of the whole, is a mature spirituality that provides an integrated perspective filled with joy for the ordinary. I conclude that his art provides a particular example of how the loss of meaning felt by Modernists may be addressed.

In this thesis, I explore how the logic and mobilization of critique as an emancipatory practice, situated within various historical inheritances of the Enlightenment project, enable/delimit ‘Western’ political imaginations. I therefore question how discourses and practices of critique not only reproduce but become functional to that which they seek to transform. That is, through its conventional fault-finding role, how does critique regulate (un)acceptable ways of thinking? By resituating critique as integrally constitutive of our inheritances, rather than an exceptional instrument of correction or virtue, this methodological reorientation has the potential to foster explorations that are grounded within, as opposed to transcendentally outside, our complex sites of inheritances. In this way, it is an inquiry into the histories and politics of Western projects of emancipation and progress as captured by practices, methods, and subjects of critique within various influential traditions.