O objetivo deste trabalho é examinar como se relacionam a elocução poética e a de-monstração técnica nas Astronômicas de Manílio. Considerando o poema como um opus composto na difícil confluência de dois discursos, o técnico das doutrinas astroló-gicas helenísticas e o poético do gênero didático de poesia, investigo aquela relação em três perspectivas diferentes: a da persona doctoris, em que estudo os tipos de limites impostos à confecção poética do enunciado verdadeiro do vate; a da doctrina, em que exponho, analiso e interpreto numerosos casos de variação da expressão poética aplica-da à exposição didática da matéria astrológica verdadeira dos números, nomes e ra-tiones; e a da persona discipuli, em que considero o problema da intelecção da matéria técnica e o interpreto num contexto poético mais amplo. Pretendo demonstrar, assim, como o poema de Manílio realiza uma representação essencialmente poética e não ex-clusivamente técnica da ars astrológica, bem como apontar, a partir daí, alguns sentidos em que a poesia amimética das Astronômicas se poderia dizer também mimética. / This dissertation intends to examine the relationship between poetic elocution and tech-nical demonstration in Manilius Astronomica. By considering the poem as an opus del-icately interwoven in between two discourse genres, the technical discourse of Hellenis-tic astrology and the poetic one of didactic poetry, I investigate the abovementioned relationship under three points of view: that of the persona doctoris, under which I study the kinds of limitations imposed on the composition of the poets (vates) true utterance; that of the doctrina, under which I present, analyze and interpret numerous cases of variation in poetic expression applied to the didactic exposition of the true astrological matter of numbers, names and rationes; and that of the persona discipuli, under which I consider the problem of the understanding of technical matter and inter-pret it in a broader poetic context. Thus I intend to demonstrate how Manilus poem puts together an essentially poetic and not exclusively technical representation of the astrological ars, and, consequently, point out some meanings in which the non-mimetic poetry of Manilus could be said to be mimetic.

Esta dissertação analisa a representação da ambição no romance O pai Goriot, de Honoré de Balzac. A partir da análise da descrição do protagonista desta obra, Eugène de Ratignac, buscamos, com este conceito, expandir a compreensão da mimesis operada por Balzac, em diálogo com a tradição crítica iniciada com Platão e Aristóteles e revista por Erich Auerbach, e com as outras obras do escritor francês compostas no começo da década de 1830, especialmente Eugênia Grandet. / This dissertation analyzes the representation of ambition in the novel O pai Goriot (Father Goriot), by Honoré de Balzac. From the analysis of the description of the protagonist of this work, Eugène de Ratignac, we aim, with this concept, expand the understanding of how Balzac operated his mimesis, in dialogue with the critical tradition started with Plato and Aristotle and reviewed by Erich Auerbach, and the other works of the French writer, mainly Eugênia Grandet, composed in the early 1830s.

O objetivo deste trabalho é examinar como se relacionam a elocução poética e a de-monstração técnica nas Astronômicas de Manílio. Considerando o poema como um opus composto na difícil confluência de dois discursos, o técnico das doutrinas astroló-gicas helenísticas e o poético do gênero didático de poesia, investigo aquela relação em três perspectivas diferentes: a da persona doctoris, em que estudo os tipos de limites impostos à confecção poética do enunciado verdadeiro do vate; a da doctrina, em que exponho, analiso e interpreto numerosos casos de variação da expressão poética aplica-da à exposição didática da matéria astrológica verdadeira dos números, nomes e ra-tiones; e a da persona discipuli, em que considero o problema da intelecção da matéria técnica e o interpreto num contexto poético mais amplo. Pretendo demonstrar, assim, como o poema de Manílio realiza uma representação essencialmente poética e não ex-clusivamente técnica da ars astrológica, bem como apontar, a partir daí, alguns sentidos em que a poesia amimética das Astronômicas se poderia dizer também mimética. / This dissertation intends to examine the relationship between poetic elocution and tech-nical demonstration in Manilius Astronomica. By considering the poem as an opus del-icately interwoven in between two discourse genres, the technical discourse of Hellenis-tic astrology and the poetic one of didactic poetry, I investigate the abovementioned relationship under three points of view: that of the persona doctoris, under which I study the kinds of limitations imposed on the composition of the poets (vates) true utterance; that of the doctrina, under which I present, analyze and interpret numerous cases of variation in poetic expression applied to the didactic exposition of the true astrological matter of numbers, names and rationes; and that of the persona discipuli, under which I consider the problem of the understanding of technical matter and inter-pret it in a broader poetic context. Thus I intend to demonstrate how Manilus poem puts together an essentially poetic and not exclusively technical representation of the astrological ars, and, consequently, point out some meanings in which the non-mimetic poetry of Manilus could be said to be mimetic.

Em Machado de Assis, a representação da realidade é desfigurada através da forma literária marcada pelo binômio precisão versus imprecisão. Essa desfiguração surge na representação do cotidiano sério e trágico (elementos constitutivos do Realismo moderno, segundo Erich Auerbach) que, no Brasil, são afetados pela mescla de percepções de ordem política, econômica e religiosa, causando uma falta de posicionamento social claro. O presente trabalho tem a intenção de analisar o romance Dom Casmurro (obra que possui um narrador comprometido tanto pelo discurso jurídico quanto pelo discurso religioso) à luz do método que Auerbach desenvolveu para compreender a forma como é apresentada a condição humana através do tempo, especialmente nas obras Figura (1944) e Mimesis (1946), a fim de demonstrar como se dá a representação da realidade em um país periférico e pautado por valores arcaicos, gerando a quebra da seriedade e o afastamento da precisão realista. / In Machado de Assis work, the representation of reality is disfigured through the literary form determined by the precision vs. imprecision binomial. Such disfiguration emerges from the representation of the serious and tragic everyday (constitutive elements of Modern Realism, according to Erich Auerbach), which in Brazil is affected by the miscellany of political, economic and religious perceptions, causing an absence of a clear social positioning. The current work intends to analyze the novel Dom Casmurro (story that has a committed narrator both for the juridical speech and the religious one) making use of the method Auerbach developed to comprehend the form the human condition is present through time, specially in the works Figura (1944) and Mimesis (1946), in order to demonstrate the representation of reality in a peripheral country ruled by archaic values, generating the break of seriousness and the dismissal of realist precision.

Ce travail de thèse, inscrit entre littérature comparée, théâtre et philosophie, est fondé sur l'analyse d'une notion polysémique : la mimèsis. Il s'agit en effet d'étudier le traitement de cette notion dans le corpus philosophique de Lacoue-Labarthe et de trouver là un point de départ pour l'analyse de ses textes littéraires (Phrase, L'''Allégorie'' et Préface à la Disparition). La première partie est consacrée à une mise au point philosophique dont le but est de situer la pensée de la mimèsis de Lacoue-Labarthe par rapport à la philosophie grecque (Platon, Aristote) et allemande (de Winckelmann à Heidegger, en passant par Schiller, Hölderlin, le romantisme ou Hegel). Nous observons ainsi combien, dépassant une interprétation productive (la Darstellung) ou passive (la Nachahmung) de la mimèsis, Lacoue-Labarthe propose de voir la représentation littéraire et théâtrale comme le produit d'un « mime de rien », où « rien » est compris comme ce qui échappe à toute représentation possible. Les deuxième et troisième parties approfondissent la manière dont ce « rien » trouve un écho dans ses textes littéraires. Plusieurs analyses formelles sont alors menées : influence de la traduction sur la versification du texte poétique et théâtral, développements sur l'esthétique du sublime qui guide l'auteur, évocation des rapports de ses textes avec les pratiques de la musique, de l'opéra et de l'oratorio, mise en rapport, enfin, de son écriture, avec le genre de la « biographie » littéraire et artistique. / This literary, theatrical and philosophical work is founded on the analysis of a polysemous concept : the mimèsis. In this phd, we try to study the treatment of this concept in the philosophical corpus of Lacoue-Labarthe and to see the links between his philosophy and his literary texts : Phrase, L' « Allegorie » and Préface à la Disparition). The firts part is devoted to a philosophical approche. We try to understand the formation of Lacoue-Labarthe's thought compared to Greeks (Plato, Aristote) and Germans (Winckelmann, Heidegger, Schiller, Hölderlin, romanticism and Hegel). Exceeding a productive (Darstellung) and a passivates (Nachahmung) interpretation of the mimèsis, Lacoue-Labarthe proposes to see the literary and theatrical representation like the product of a « mime de rien » (« mimes of nothing »), where « nothing » is understood as what escapes any possible representation. Several formal analyses are then explore : influence of the translation on the versification, description of the sublime esthetics of Lacoue-Labarthe, links between Lacoue-Labarthe's texts and music, opera or oratorio, links between « writing » and « biography ».

A presente dissertação visa analisar os conceitos de mimesis e tragédia nas diferentes abordagens dos filósofos Platão e Aristóteles. O problema principal que condiciona a análise é a relação entre, de um lado, as obras de arte e, de outro, a realidade e os juízos morais. Esse problema é estudado através de uma análise dos principais textos nos quais os respectivos filósofos elaboraram suas reflexões sobre o tema, a saber, os livros II-III e X da República de Platão e A Poética de Aristóteles. Nessas diferentes obras vemos progressivamente a elaboração da primeira reflexão ocidental sobre a atividade artística em geral, com ênfase especial sobre a poesia trágica. A polêmica platônica em torno da mimesis e da tragédia tem por objetivo servir de pano de fundo para a compreensão da tese aristotélica de que a ação poética é distinta da ação tal como estruturada na vida, e, isso, em função da prioridade “ontológica” concedida à ação trágica com relação aos caracteres. A tese platônica relativa à arte, é de que a mimesis está na origem da perversão da alma intelectiva e racional capaz de estabelecer a verdade a partir da rememoração da Forma transcendente. Como a tragédia é a imitação da aparência visível das coisas, o que o poeta faz é absorver a coisa sensível em uma imagem parcial, isto é, um pequeno pedaço da coisa, visto que ela, quando sustentada unicamente pela posição do olhar do artista, estilhaça-se em uma multiplicidade cambiante de imagens que essa mesma coisa pode fornecer. É apenas a Forma transcendente que pode bloquear essa proliferação incessante de imagens que distorcem a imagem absoluta das virtudes e da verdade. Ao contrário, em Aristóteles, não vemos nada dessa redução da intriga (mythos) trágica aos conceitos discursivos ou aos valores estáveis éticos. Ao estabelecer o mythos como princípio formal da tragédia, Aristóteles subordina as demais partes constituintes da tragédia à ação enquanto disposição dos fatos em sistema. Assim, caracteres, discursos racionalmente articulados, espetáculo, etc., situam-se em uma posição secundária e subordinada correspondente ao princípio material, deixando-se, dessa maneira, determinar-se pela estrutura simultaneamente lógica e emocional da tragédia. Isso tem como consequência interditar a redução e a imobilização da tragédia em juízos morais enfáticos. / This thesis aims to analyze the concepts of mimesis and tragedy in the different approaches of the philosophers Plato and Aristotle. The main problem which makes the analysis is the relationship between, on one hand, works of art and, on the other, reality and moral judgments. This problem is studied through an analysis of texts in which their philosophers developed their thoughts on the subject, namely, books II-III and X of Plato's Republic and Aristotle's Poetics. In these various works gradually we build the first Western reflection on the artistic activity in general, with special emphasis on the tragic poetry. The controversy around the Platonic mimesis and tragedy aims to serve as the backdrop for understanding the Aristotelian view that the action as structured in life is distinct from the poetic action, and this, according to the priority "ontological" given the tragic action in relation to the characters. The Platonic theory on art is that mimesis is the origin of the perversion of the intellect and rational able to establish the truth from the transcendent form of remembrance. As the tragedy is the imitation of the visible appearance of things, what the poet does is absorb the sensible thing in a partial image, ie, a small piece of it, since she sustained only when the position of the artist's eye, shatters into a multiplicity changing images that that same thing can provide. In the transcendent Form is assigned the role of this interdict ceaseless proliferation of images that distort the image absolute virtues and truth. In contrast, in Aristotle, we see nothing that reduction of the tragic plot (mythos) to the concepts or discursive ethical values stable. In establishing the mythos as a formal principle of tragedy, Aristotle makes the other constituent parts of the tragedy to action as the facts available in the system. Thus, characters, speeches rationally articulated, performance, etc., lie in a secondary and subordinate position corresponding to the material principle, leaving themselves in this way be determined by the tragic structure both logical and emotional. This has the effect of banning the reduction and immobilization of the tragedy in emphatic moral judgments.

Propõe-se a realização de uma análise sobre a produção da infância em uma escola pública de educação infantil da cidade de São Paulo, a partir de uma teoria etnográfica que contemple os diversos contextos culturais e atores sociais envolvidos em sua produção. O objetivo desta análise é examinar a emergência de um drama infantil particular e a proveniência das crianças, que se constituem enquanto atores sociais no processo, embora a elas se atribua a qualidade de infante, por meio de um modo particular de relacionar-se com suas falas, regendo os sentidos por elas produzidos. Para evitar esta atribuição, a pesquisa deve escutar as falas infantis de um modo distinto daquele habitual, o que pode ser feito a partir da análise dos elementos residuais geralmente tidos como marginais nas experiências deste drama. Com o intuito de compreender a particularidade deste drama, enfatizaram-se os diferentes usos da mímesis na escola: como elemento na regência das relações de sentido e meio pelo qual se produz o organismo do ser aluno, mas, por outro lado, é preciso evidenciar a mímesis como fonte de estranhamentos em relação às realidades produzidas na escola, sobretudo a partir das performances e nos momentos de \"bagunça\". As brincadeiras apresentam-se como fontes para se compreender as perspectivas das crianças sobre as produções socioculturais de realidade em que elas se engajam: seja para tornar-se aluno, seja para distinguir-se enquanto menino ou menina. / It is proposed to conduct an analysis on the production of childhood in a public school of early childhood education in the city of São Paulo, from an ethnographic theory that considers the cultural context and social actors involved in its production. The purpose of this analysis is to examine the emergence of a childhood drama and the provenance of particular children, who are regarded as social actors in this social process which gives them their quality of infants through a particular way of relating with their speech, conducting the way they produce. To avoid this assignment, the research should listen to children speeches in a manner different from that usual, which can be done from the analysis of residual elements generally regarded as marginal in the experiences of this drama. In order to understand the peculiarity of this drama, emphasized the varying uses of mimesis in school: as an element in conducting of the relations of sense and means by which the body produces to be a student, but on the other hand, we must show mimesis as a source of estrangement from the realities produced in school, especially from the performances and moments of \"mess\". The games are presented as sources for understanding the perspectives of children on the production of socio-cultural reality in which they engage, is to become a student, is to distinguish himself as a boy or girl.

Abstract This thesis has been made within the European Industrial Doctorate (EID) project called Mathematics and Materials Science for Steel Production and Manufacturing, abbreviated as MIMESIS, which has five partners: EFD Induction in Norway; SSAB, Outokumpu, and the University of Oulu in Finland; and Weierstrass Institute for Applied Analysis and Stochastics (WIAS) in Germany. The main aim of this work was to develop a steel composition and processing route suitable for making a slurry transportation pipeline with the aid of induction hardening, and to characterize the phase transformations and microstructures involved in the various stages of the processing route. A novel steel chemistry was designed based on metallurgical principles assisted by computational thermodynamics and kinetics. The designed composition is a medium-carbon, low-alloy steel microalloyed with niobium, in wt.% 0.40 C, 0.20 Si, 0.25 Mn, 0.50 Mo, 0.90 Cr, and 0.012 Nb. This was subsequently cast, thermomechanically rolled on a laboratory rolling mill to two bainitic microstructures, and finally subjected to the thermal cycles predicted to be encountered with the internal induction hardening of a typical pipe geometry. The phase transformations and microstructures found at various stages of the simulated production process have been characterized and algorithms developed to enable the optimization of microstructure and hardness through the pipe wall thickness. / Tiivistelmä Tämä väitöskirja on tehty osana Euroopan teollisuustohtori (European Industrial Doctorate, EID) -ohjelmaa projektissa eli Matematiikka ja materiaalitiede teräksen valmistuksessa ja käytössä (Mathematics and Materials Science for Steel Production and Manufacturing, MIMESIS). Ohjelmassa on viisi partneria: EFD Induction Norjasta; SSAB, Outokumpu ja Oulun yliopisto Suomesta; ja Weierstrass Institute for Applied Analysis and Stochastics (WIAS) Saksasta. Työn päätavoitteina oli kehittää teräksen koostumusta ja prosessointireittiä, jotka soveltuvat lietteen kuljetusputken valmistukseen induktiokarkaisun avulla, sekä karakterisoida prosessin eri vaiheiden aikana tapahtuvat faasimuutokset ja mikrorakenteet. Uusi teräskoostumus suunniteltiin metallurgisten periaatteiden pohjalta hyödyntämällä laskennallista termodynamiikkaa ja kinetiikkaa. Suunniteltu teräs on niobilla mikroseostettu, matalaseosteinen ja keskihiilinen, eli painoprosentteina 0,40 C, 0,20 Si, 0,25 Mn, 0,50 Mo, 0,90 Cr ja 0,012 Nb. Teräs valettiin, valssattiin ja jäähdytettiin termomekaanisesti laboratoriovalssaimella kahdeksi bainiittiseksi mikrorakenteeksi ja lopulta altistettiin lämpösykleille, joiden ennustettiin olevan tyypillisiä sisäisesti induktiokarkaistulle teräsputkelle. Simuloidun tuotantoprosessin eri vaiheissa havaitut faasimuutokset ja mikrorakenteet on karakterisoitu. Sen lisäksi on kehitetty algoritmit, jotka mahdollistavat mikrorakenteen ja kovuuden optimoinnin putken seinämän paksuuden läpi.

'The Artist Will Be Present' explores objects as traces that stem from performed actions, and my body in performance. Part-sculptural objects, video and sound act as performance documents that expand on notions of the ‘live’ encounter. Interest lies in how we get to objects: process in variance to product or closure. And the question of how the body/s of the audience becomes participatory is at the forefront of these operations. From this viewpoint the exegesis aims to broaden existing scholarship on performativity, liveness and the part-sculptural object, exploring the manners in which various cultural practices act to animate objects. I reconsider the Euro-American genealogies of performance/body art (Bruce Nauman, Lygia Clark, Ann Hamilton et al.) in relationship to contemporary art practices in Australia and New Zealand (Alicia Frankvich, Carolyn Eskdale et al.) through the lens of late 19th-and early 20th-century writing on sympathetic magical action. A legacy of cultural anthropology dealing with magic (that was privileged in establishing grounding aspects of structural linguistics) circulates around the British anthropologist Stanley J. Tambiah whose thinking on persuasive analogy in ritual performance draws a crucial link between J. L. Austin’s performative utterance and James George Frazer’s notion of sympathetic magic. From such a perspective the operations of sympathetic mimesis—involving ambivalent similitude and contagion—are discussed in terms of performative and persuasive illocutionary force. This offers another model for articulating an authentic performative document as an encounter with the ‘live.’ A phenomenological method of enquiry, including Maurice Merleau-Ponty’s concept of the chiasm,—along with notions of mimetic incongruence—crucially tease out relationships between the live and the performance document and aim at resisting subject/object dichotomies whereby concepts of embodiment and indeterminate play between artist, objects and audiences are activated. Applied to contemporary debates on performance and ‘objects out of action,’ part objects and images are transformed as partial ‘subjects’: metonymically part of larger wholes as trace (substitution) and contagious contact (liveness). What is lacking in the operations of sympathetic mimesis is precisely what ‘draws out’ the body/s of the audience as they desire closure in object and duration. As these questions turn on the body of the artist/self and the audience/participant in performative installation practice, I offer an analysis of bodies in ritual exchange (donor/donee); subjects and objects as transformers: relations of force over form—liminal, reversible and redolent of lack—that emphasise encounter in difference to recognition. This is to speak of, in the words of Lygia Clark: “Tactile shocks to liberate the body.”

Thesis (Ph. D. in German)--Vanderbilt University, May 2007. / Title from title screen. Includes bibliographical references.