[pt] Se imagem, por sua anfibologia, pode ser tomada como uma proposição dada à contemplação tanto quanto uma operação da consciência, a pintura parece ser um locus privilegiado para observar a intensificação de seus desafios ao pensamento, assim como arena apoteótica de sua neutralização. Este trabalho se empenha em deslindar alguns aspectos do problema das imagens, visando contudo, aclarar a possibilidade de uma reflexão sobre a mímesis na pintura moderna. O trabalho do pintor Édouard Manet (1832-1883) é assim analisado como contra-exemplo da reiteração de uma premência imitativa nas artes visuais – sem que com isso deixe de se enfatizar as profundas conexões estabelecidas entre obra e mundo. Nossa especulação incidirá sobre a formulação do lugar das imagens no pensamento ocidental, a fim de aclarar se algumas proposições iniciais não se apresentam ainda como entraves na reflexão contemporânea. Por não ser de todo corriqueiro, o empreendimento teórico sobre a mímesis, juntado aí a ênfase das imagens como um modo de relação sui generis, permite refletir sobre a ênfase poiética na pintura de Manet, distanciando-a da sombra de ser ela uma mera crônica reiterativa. Esta investigação, portanto, pretende oferecer uma objeção ao mecanicismo imitativo de alguns dos discursos sobre artes visuais. / [en] If image, due to its amphibology, can be taken as a proposition given to contemplation as much as an operation of consciousness, the realm of painting seems to be a privileged locus to observe the intensification of its challenges to thought, as well as an apotheotic arena of its neutralization. This paper endeavors to unravel some aspects of image s surrounding issues, aiming, however, to clarify the possibility of a reflection on mimesis in modern painting. The work of painter Édouard Manet (1832-1883) is thus analyzed as a counter-example of the reiteration of an imitative urge in the visual arts – without neglecting to emphasize the deep connections established between the work and the world. Our speculation will focus on the formulation of images locus in Western thought, in order to clarify whether some initial propositions do not yet present themselves as obstacles in contemporary reflection. As it is not commonplace, the theoretical enterprise on mimesis, along with the emphasis on images as a unique mode of relationship, allows us to reflect on the poietic emphasis in Manet s painting, distancing it from the shadow of being a mere scandalous and repetitive chronicle. This investigation, therefore, intends to offer an objection to the imitative mechanism of some established discourses on visual arts.

My purpose with this thesis is to examine Adorno’s rethinking of the aesthetic concept of form, in his last work, Ästhetische Theorie. Artistic form has in the tradition of aesthetics been quite forgotten according to Adorno. He even calls it, “the blind spot of aesthetics”. To rework the concept of form he introduces a set of conceptual relationships that takes an indispensable part in the new multifaceted concept of form. In fact, there is a plurality of concepts that is being put to work, to arrive at a new understanding of form. My methodological approach has been to trace these conceptual relationships that revolve around the aesthetic form and to highlight their connections. My contribution with this undertaking is to accentuate the weightiness of the form concept in Ästhetische Theorie. In the concept, Adorno’s materialistic thinking also becomes discernible. This aspect is especially mirrored in the theoretical attention he pays to the aesthetic material and the artifact itself. Another purpose of this thesis is to explore how the aesthetic form can be critical and to fathom what it implies. Criticism in Ästhetische Theorie is closely related to what Adorno calls aesthetic truth, which is taking shape in the artistic form. The form is thus related to many of the essential concepts in Ästhetische Theorie, such as truth and illusion. The study further examines how the critical form can be autonomous, while at the same time being deeply enmeshed in society.

In this bachelor thesis in the field of artistic research, the author’s aim was to gain practical and experience-based knowledge on how to access their inner voice in the process of composing notated contemporary music. The theoretical framework was obtained from theories on compositional craft, composers’ voice and a concept from the rhetoric, mimesis, was used as a model for the approach to creating composition exercises. The procedure of the bachelor thesis started with semi-structured interviews with four professional composers, who were asked about their compositional processes. Based on the results of the interviews, a composition exercise, called mimesis-exercise, was created for each of the interviewee, and then performed by the author. After each mimesis-exercise was finished, a reflective evaluation on the process was written.  A summary of each interview is presented in the implementation and detailed descriptions on how the compositional process was conducted for each of the four mimesis-exercises are presented in the results part. The artistic production of the bachelor thesis consists of five new pieces, each composed for one of the ensembles: SATB-choir, string ensemble, organ (two pieces), and solo trombone. The four research questions were answered through a thematic analysis and reflective texts.   The conclusions made during the process of the bachelor thesis was that the author experienced an enhanced understanding and connection to both the compositional process and the sounding material produced. The experience of composing, both the pieces which was part of the project, but especially those composed close after the thesis’s end, was more emotional and personal than the author experienced before the start of the bachelor thesis. The author reflected on how her development and discovering of her compositional voice was made through the procedure of the mimesis-exercises. The conclusive texts of the bachelor thesis add accounts for experience-based and personal perspectives to previous research on composer’s voice.

[pt] Este trabalho apresenta e analisa a estreita proximidade entre Poesia e História que se torna a base e o método de escrita dos ensaios poéticos de Octavio Paz. O poeta trata a história como um lugar da poesia. Isso mobiliza a categoria metódica que é comum ao fazer historiográfico, para dentro do terreno da ficcionalidade. Qual será o impacto na mobilização da poesia e de seu terreno como método para a escrita da história? Uma vez que a história está sempre tensionada entre ficção e verdade, a narrativa crítica sobre o passado é submetida à verdade? Se a poesia é sempre insurgente à verdade, a força resultante é destrutiva e favorável em relação à História. Se por um lado a concatenação de forças que as múltiplas imagens do passado evocadas por Paz permitem uma proximidade com o passado, por outro, um breve momento de lucidez destitui a verdade da centralidade do discurso historiográfico e a atuação do ensaio permite um procedimento historiográfico que represe essas imagens em torno de um sentido, não mais factual e teleológico, mas voltado para o acontecimento e os múltiplos sentidos que a realidade pode ter. / [en] This work presents and analyzes the close proximity between Poetry and History that becomes the basis and method of writing Octavio Paz s poetic essays. The poet treats history as a place of poetry. This mobilizes the methodical category that is common in historiographical work, into the realm of fiction. What will be the impact on the mobilization of poetry and its terrain as a method for writing history? Since history is always tensioned between fiction and truth, is the critical narrative about the past subjected to truth? If poetry is always insurgent to the truth, the resulting force is destructive and favorable in relation to History. If, on the one hand, the concatenation of forces that the multiple images of the past evoked by Paz allow a proximity to the past, on the other hand, a brief moment of lucidity deprives the truth of the centrality of the historiographical discourse and the performance of the essay allows a historiographical procedure that represent these images around a sense, no longer factual and teleological, but turned to the event and the multiple meanings that reality can have.

My thesis concerns how architecture can actively participate in processes of community-formation without reducing its creative processes to the oppositional tensions, prejudices and instrumentality of conventional left/right or bottom-up/top-down politics, “two poles of the same governmental machine.” By elaborating the architect as craftsman-author, my thesis explores Community and processes of political and poetic Representation. It is critical towards the biopolitics of governance. Theorisation is drawn principally from the political philosophy of critical theory, phenomenology and hermeneutics. My thesis promotes the architecture of “unavowable community.” Rather than forming communities by grouping likenesses together, and architecture forming their limits to either secure self-sufficiency or protect against insufficiency, architecture is tasked with finding methodologies for delimiting community-formation based on affirmative views of incompleteness and insufficiency. It is arranged in three Sections: Section I sets out the political and representational ground from which the investigation into community begins – it is a brief investigation into historical processes of forming community; Section II sets out possibilities for rethinking community – it is an investigation that shifts questions of craftsmanship, authorship, politics and representation from the search for appropriate community form to processes for becoming community; Section III is an investigation into the processes of craftsmanship and authorship directed towards the unpredictable but nonetheless “coming community” – it sets out a methodology for how an architect might go about proposing community.

The aim of the dissertation is to understand the playing of computer games based on its own conditions, and questions are asked such as what is the meaning constructed around playing and themselves as players, what is the social construction of playing and how can playing computer games be understood from the perspective of youth culture? A basic interest in the thesis is to contribute to the understanding of Bildung in an informal context outside the institutions, activities and genres that traditionally stand for Bildung. The empirical investigation that forms the basis of this thesis i in the form of presence at various LANs and interviews with players. The research perspective includes a hermeneutic point of departure and playing computer games is interpreted and understood from three perspectives: playing computer games as a meaning of Bildung (play and mimesis), as social meaning (friendship and community) and as cultural (style). The results demonstrates that playing computer games is something the player does to relax, to have fun and it makes the time that passes meaningful. For dedicated players, playing computer games is a longing for community. To be a member of a community provides the opportunity to become someone in relation to the others. To participate in the community of players is a way to achieve understanding about how one is expected to behave in a larger community, that is to say society. The players are not much interested in clothes and fashion. Alcohol and other drugs are disapproved. Not stealing from others in the LAN, helping each other and sharing both knowledge and material things are also ways of expressing style. Playing computergames is Bildung and the experiences and insights wich playing can provide should have a place in a vision regarding Bildung in our time. The teachers and the school should make use of the free-time experiences that young people take with them to school.

Esta tese toma três momentos da obra de Karl Marx em que temas estéticos são aventados: a formação da sensibilidade nos Manuscritos econômico-filosóficos de 1844, a passagem sobre a épica na Contribuição à crítica da economia política Introdução, de 1857 e o debate epistolar entre Marx, Engels e Lassalle sobre a peça do último, Franz von Sickingen, de 1859. No contexto desses temas, buscamos descobrir as contribuições de Marx ao problema da mimese artística, da objetividade e especificidade da arte. São abordados a objetivação, mimese, historicidade dos gêneros, especificidade do reflexo artístico, o indivíduo e universalidade na obra artística, gênero artístico e revolução. Ao tratar desses temas, procura-se colocar Marx em diálogo com momentos da tradição estética, em particular pontos presentes em Aristóteles, Shakespeare e Schiller, Lessing, Hegel e Feuerbach. Lateralmente, algumas consequências para o marxismo contemporâneo são trazidas à tona, como a crítica de Marx à arte diretamente política. O trabalho conta com as contribuições de G. Lukács e M. Lifschitz, para quem a obra de Marx dispõe as linhas fundamentais de um pensamento estético coerente, a despeito da forma esparsa. / This thesis takes three passages of Karl Marxs work which bring out aesthetic subjects: the formation of senses in the Economic and Philosophical Manuscripts of 1844, the famous passage on the epic in the Contribution to the Critique of Political Economy - Introduction, 1857, and the epistolary debate between Marx, Engels and Lassalle on the tragedy written by the latter, Franz von Sickingen, held in 1859. In those contexts, we search for Marxs contributions to the problem of artistic mimesis, objectivity and specificity of art. Objectification, mimesis, historicity of genres, artistic reflection specificity, individual and universality in artistic work, artistic genre and revolution are points approached. In order to address these issues, we put Marx in dialogue with relevant moments in aesthetic tradition, particularly points present in Aristotle, Shakespeare and Schiller, Lessing, Hegel and Feuerbach. Laterally, some consequences for contemporary Marxism are brought to light, such as Marx\'s critique of political art. The work counts on the contributions of G. Lukács and M. Lifschitz, for whom Marx\'s work provides the main lines of a coherent aesthetic thought, despite its sparse form.

A proposta desta tese é apresentar uma análise das obras O Mandarim e A Relíquia, de Eça de Queirós, a partir da perspectiva da escrita intimista. Para essa leitura serão considerados os aspectos inerentes à escrita de si segundo Michel Foucault, descritas nos textos Lécriture de soi, publicado pela primeira vez no ano de 1983, e no Volume III da História da Sexualidade: O cuidado de si, publicado em 1985. A escolha desse aporte teórico se dá pela evidenciação dos traços desse tipo de escrita nessas duas narrativas de Eça de Queirós, ora classificadas como autodiegéticas. Pretende-se demonstrar que a mimese da escrita de si elaborada pelo escritor nessas duas obras está a serviço de uma forte crítica social, que visa a atingir a própria constituição do sujeito oitocentista. / The aim of this thesis is to present an analysis of the works The Mandarin and The Relic of Eca de Queiroz, from the intimate writing perspective. On this reading will be considered aspects of the writing the self, according to Michel Foucault, described in the texts L\'écriture de soi, first published in 1983, and in Volume III of the History of Sexuality: Self care, published in 1985. The choice of this theoretical contribution is given by the disclosure of the features of this kind of writing these two narratives of Eca de Queiroz, now classified as autodiegéticas. We intend to demonstrate that Eça de Queirozs writing of itself as mimesis in these two works is at the service of a strong social criticism, which aims to achieve the very constitution of the subject nineteenth century.

Esta dissertação tem como objetivo realizar uma aproximação entre dois campos distintos: a Literatura e as Histórias em Quadrinhos. Especificamente, pretende-se aqui analisar como Watchmen constroi e organiza sua narrativa partindo de um pressuposto realista. Nesse sentido, esta dissertação realiza uma aproximação entre dois gêneros: o romance literário e o romance gráfico (graphic novel). A ascensão de ambos os gêneros já aponta paralelos entre os campos. Após essa exposição, é feita a análise propriamente dita, que compreende duas partes. A primeira se constitui do levantamento das estruturas visuais de Watchmen (balões, formato dos quadrinhos, estilo do desenho) que se organizam em um jogo entre convenção mimética e deslocamento. A segunda parte da análise tem como recorte os capítulos II e XI do romance gráfico e se debruça sobre o tratamento dispensado ao super-heroi; o que significa, no contexto de Watchmen, construir um super-heroi realista. / This thesis aims to approximate two distinctive fields: Literature and Comics. It intends to analyse how Watchmen constructs and organizes its narrative from a realistic assumption. In order to do so, this thesis approximate two genres: the literary novel and the graphic novel. The rise of both genres indicates similarities between the two fields. After that, the two-part analysis is presented. The first part consists of listing and interpreting Watchmens visual structure (speech bubbles, panel format, drawing style) and how they reveal a play between mimetic convention and displacement from it. The second part focuses on Watchmens chapters II and XI and analyses how the super-heroi character is constructed; what does it mean to make a realistic super-hero in Watchmens context.

A seguinte dissertação examina dois núcleos fundamentais da literatura do escritor francês Raymond Roussel (1877-1933), a saber: o problema da representação e a questão da produtividade textual, conceito emprestado de Julia Kristeva. Nesse percurso, nossos objetos privilegiados para análise são o romance Impressions dAfrique (1910) e o texto publicado postumamente Comment jai écrit certains de mes livres (1935). Observa-se na escritura rousseliana um deslocamento da representação mimética de modo a configurar a emersão da produtividade da linguagem literária. Essa última categoria se manifesta nos agenciamentos dos famosos procédés, na medida em que se transita do fascínio da cena descrita à prospecção do vazio da linguagem. / The following thesis examines two fundamental cores of French writer Raymond Roussels literature (1877-1933): the problem of representation and the issue about the textual productivity, concept borrowed from Julia Kristeva. Our privileged objects for analysis are the novel Impressions d\'Afrique (1910) and the posthumously published text of Comment jai écrit certains de mes livres (1935). A displacement of mimetic representation can be noticed in the Rousselian scripture that configures the surfacing of productivity of the literary language. This last category is manifested in the assemblages of the well-known procédés, as it transits from the fascination of the scene described to the prospect of emptiness of the language.