A presente tese aborda os graus de interatividade presentes na experiência com e na obra de arte. O ato de experienciar na obra de arte nos mostra que qualquer experiência se constitui por relações intensivas entre corpos e meios em processos de interatividade. Constata-se que há diferentes graus de interatividade na experiência, sendo: misturas, atrações, incorporações e percepções. As misturas são as afecções voluntárias e involuntárias entre corpos em meios associados. A compreensão sobre as misturas dos corpos está relacionada às diferentes concepções filosóficas sobre imanência. As atrações falam de uma arte animal que nos ensina a potência do meio e os afectos dos corpos. O corpo que se menciona, aqui, não se restringe ao humano, mas também ao não humano – animal, tecnológico, imaterial – formado de velocidades e lentidões da matéria-tomando-forma. Tais corpos incorporam a vida via tecnologias dos fazeres e suas tecnicidades que não dissociam natural e artificial, analógico e digital, matéria e forma. As (im)percepções produzem paisagens efêmeras no sistema metaestável obra-humano-meio. As paisagens oscilam entre panoramas, presos a ilusionismos e representações miméticas; e simulacros que se formam no encontro das dessemelhanças e produzem realidades inventadas. Tais idéias são fundamentadas nas filosofias de Benetithus Espinosa, Gilbert Simondon e Gilles Deleuze. Ainda, são levadas para o campo da Arte Interativa, uma vez que estas obras se efetuam e se modificam ao longo da experiência artista/espectador/obra/meio. Deste modo, entende-se que os processos de interatividade direcionam-se para uma Ética da potência de agir dos corpos, ou seja, o quanto pode um corpo na experiência a partir das dinâmicas dos graus de interatividade na obra de arte. Tal investigação resulta na produção teórica da tese e na produção da videoinstalação “CorposAssociados” e da série de fotografias “Incorporações”. / This thesis addresses the degrees of interactivity produced with and within an artwork. The act of experiencing an artwork shows that any experience is made up of relations of intensity within processes of interactivity between bodies and milieus. It is maintained that there are various degrees of interactivity in experience: mixtures, attractions, incorporations, embodiments and perceptions. Mixtures are the voluntary and involuntary affects between bodies in associated milieus. The understanding of mixtures of bodies is related to various philosophical conceptions of immanence. Attractions speak of an animal art that shows us the potential of the milieu and the affects of bodies. The body referred to includes not only the human but non-human others as well—animal, technological, immaterial—formed by the speed or slowness of matter-taking-form. Such bodies embody life through technics and technicities which do not dissociate the natural and the artificial, the analog and the digital, matter and form. The (mis)perceptions produces an ephemeral landscapeness within the metastable system constituted by the artwork-human-milieu. The landscapes oscillate between panoramas—prisoners of illusion and mimetic representations—and simulacra which are formed in the encounter of dissimilarities which produce invented realities. These ideas are based on the philosophical writings of Baruch Spinoza, Gilbert Simondon and Gilles Deleuze and are applied to the field of interactive art in order to understand that artworks are created and modified through the artist/spectator/artwork/milieu experience. Thus, interactive processes are driven by an Ethics of the potential of bodies to act, which is to say, by what a body can do in its intensity in the dynamics of degrees of interactivity in the experience of the artwork. The research has resulted in this theory-based thesis, the production of a video installation entitled “CorposAssociados” and the series of photographs “Incorporações”.

A presente tese aborda os graus de interatividade presentes na experiência com e na obra de arte. O ato de experienciar na obra de arte nos mostra que qualquer experiência se constitui por relações intensivas entre corpos e meios em processos de interatividade. Constata-se que há diferentes graus de interatividade na experiência, sendo: misturas, atrações, incorporações e percepções. As misturas são as afecções voluntárias e involuntárias entre corpos em meios associados. A compreensão sobre as misturas dos corpos está relacionada às diferentes concepções filosóficas sobre imanência. As atrações falam de uma arte animal que nos ensina a potência do meio e os afectos dos corpos. O corpo que se menciona, aqui, não se restringe ao humano, mas também ao não humano – animal, tecnológico, imaterial – formado de velocidades e lentidões da matéria-tomando-forma. Tais corpos incorporam a vida via tecnologias dos fazeres e suas tecnicidades que não dissociam natural e artificial, analógico e digital, matéria e forma. As (im)percepções produzem paisagens efêmeras no sistema metaestável obra-humano-meio. As paisagens oscilam entre panoramas, presos a ilusionismos e representações miméticas; e simulacros que se formam no encontro das dessemelhanças e produzem realidades inventadas. Tais idéias são fundamentadas nas filosofias de Benetithus Espinosa, Gilbert Simondon e Gilles Deleuze. Ainda, são levadas para o campo da Arte Interativa, uma vez que estas obras se efetuam e se modificam ao longo da experiência artista/espectador/obra/meio. Deste modo, entende-se que os processos de interatividade direcionam-se para uma Ética da potência de agir dos corpos, ou seja, o quanto pode um corpo na experiência a partir das dinâmicas dos graus de interatividade na obra de arte. Tal investigação resulta na produção teórica da tese e na produção da videoinstalação “CorposAssociados” e da série de fotografias “Incorporações”. / This thesis addresses the degrees of interactivity produced with and within an artwork. The act of experiencing an artwork shows that any experience is made up of relations of intensity within processes of interactivity between bodies and milieus. It is maintained that there are various degrees of interactivity in experience: mixtures, attractions, incorporations, embodiments and perceptions. Mixtures are the voluntary and involuntary affects between bodies in associated milieus. The understanding of mixtures of bodies is related to various philosophical conceptions of immanence. Attractions speak of an animal art that shows us the potential of the milieu and the affects of bodies. The body referred to includes not only the human but non-human others as well—animal, technological, immaterial—formed by the speed or slowness of matter-taking-form. Such bodies embody life through technics and technicities which do not dissociate the natural and the artificial, the analog and the digital, matter and form. The (mis)perceptions produces an ephemeral landscapeness within the metastable system constituted by the artwork-human-milieu. The landscapes oscillate between panoramas—prisoners of illusion and mimetic representations—and simulacra which are formed in the encounter of dissimilarities which produce invented realities. These ideas are based on the philosophical writings of Baruch Spinoza, Gilbert Simondon and Gilles Deleuze and are applied to the field of interactive art in order to understand that artworks are created and modified through the artist/spectator/artwork/milieu experience. Thus, interactive processes are driven by an Ethics of the potential of bodies to act, which is to say, by what a body can do in its intensity in the dynamics of degrees of interactivity in the experience of the artwork. The research has resulted in this theory-based thesis, the production of a video installation entitled “CorposAssociados” and the series of photographs “Incorporações”.

Made available in DSpace on 2014-12-17T14:20:23Z (GMT). No. of bitstreams: 1 EduardoPS_TESE.pdf: 3784271 bytes, checksum: 849830dbd2f14b3522f66052ac9aa627 (MD5) Previous issue date: 2012-02-13 / The approach that undertakes this work revolves around the emergence of iconic structures on reflecting about the meaning of different methods of image representation through which the contemporaneity reveals itself. At baseline, three aspects are considered looking for an analytical ontology of the act of representation and imagery: the transition of representation in the oral culture of societies for writing, from these to typography, and finally the creation of a representation device. Resorted to, therefore, the argument by some genealogy reference points that technological instances such as writing, printing and photography, the evolution of this process, correspond, in itself, a consequent shift technique, for each representation precedent. In the area of the image, the most salient aspect of this change in foward process is the emergence of hyper-reality: the instances of hyper-realistic representation. In the Western context, the 'simulation of the world' - essential idea of mimesis is the work of an autonomous an conventional system. It should be noted, then the fact that under unreflective of the post-industrial societies, the mass-media image is coating with natural or fake code including - according to Baudrillard - tends to replace the real world in the "perpetuation of a large chain of simulacra." Hence in modern times, in the postindustrial society, during the crisis of the representation regimen and perception, centered in the referent. In this limit, new settings are established by aesthetic representations of imagery in contemporary culture: establishing spaces of simulation [Jean Baudrillard] the spectacle [Guy Debord] and hypermodernity [Gilles Lipovetsky] in which they operate. In these assemblages, saps the emergence of Hyper-reality Representation Instances - as seen in this study aesthetic events to configure itineraries of a new sensibility. It is the nature of this practice sign-iconic, ingrained in the creation of current artistic expression, which this research engaged in peering: the hyper-realistic setting, taking empirical support central to contemporary imagery production, diverse formats of analog representation. / A abordagem que empreende este trabalho gira em torno da emerg?ncia de estruturas ic?nicas, reflexionando sobre o sentido de diferentes modalidades de representa??o imag?tica por meio das quais a contemporaneidade se revela. ? partida, tr?s aspectos s?o considerados para uma anal?tica em busca da ontologia do ato da representa??o imag?tica: a transi??o da representa??o nas sociedades de cultura oral para a escrita; destas para a tecnologia tipogr?fica e, finalmente, a constitui??o de dispositivo de representa??o fotogr?fica. Recorre-se, portanto, ? argumenta??o por meio de alguns pontos de refer?ncia geneal?gica de que inst?ncias tecnol?gicas como a escrita, a tipografia e a fotografia, na evolu??o desse processo, correspondem, per si, a uma viragem t?cnica consequente, em rela??o a cada representa??o precedente. No dom?nio da imagem, o aspecto mais proeminente dessa mudan?a no decurso avan?ado consiste na emerg?ncia da hiper-realidade: das inst?ncias de representa??o hiper-realista. No contexto ocidental, a simula??o do mundo ideia essencial da mimesis - ? obra de um sistema aut?nomo e convencional. Sublinha-se, ent?o, o fato de que, no ?mbito irreflexivo das sociedades p?s-industriais, a imagem mass-midi?tica se reveste com o falso c?digo de natural ou inclusive de acordo com Baudrillard tende a substituir o mundo real na perpetua??o de uma larga cadeia de simulacros . Da?, na modernidade, em plena sociedade p?s-industrial, decorrer a crise do regime de representa??o e de percep??o, centrado no referente. Neste limite instauram-se novas configura??es est?ticas de representa??es imag?ticas na cultura contempor?nea: instituindo espa?os da simula??o [Jean Baudrillard], do espet?culo [Guy Debord] e da hipermodernidade [Gilles Lipovetsky] em que operam. A estes agenciamentos, acode a emers?o das Inst?ncias de Representa??o Hiper-real vistas neste estudo como ocorr?ncias est?ticas a configurarem itiner?rios de uma nova sensibilidade. ? da natureza dessa pr?tica signo-ic?nica, incrustada na cria??o da express?o art?stica atual, que esta pesquisa se ocupou em perscrutar: a configura??o hiper-realista, tomando como suporte emp?rico central a produ??o imag?tica contempor?nea, em formatos diversificados da representa??o anal?gica.

A presente tese aborda os graus de interatividade presentes na experiência com e na obra de arte. O ato de experienciar na obra de arte nos mostra que qualquer experiência se constitui por relações intensivas entre corpos e meios em processos de interatividade. Constata-se que há diferentes graus de interatividade na experiência, sendo: misturas, atrações, incorporações e percepções. As misturas são as afecções voluntárias e involuntárias entre corpos em meios associados. A compreensão sobre as misturas dos corpos está relacionada às diferentes concepções filosóficas sobre imanência. As atrações falam de uma arte animal que nos ensina a potência do meio e os afectos dos corpos. O corpo que se menciona, aqui, não se restringe ao humano, mas também ao não humano – animal, tecnológico, imaterial – formado de velocidades e lentidões da matéria-tomando-forma. Tais corpos incorporam a vida via tecnologias dos fazeres e suas tecnicidades que não dissociam natural e artificial, analógico e digital, matéria e forma. As (im)percepções produzem paisagens efêmeras no sistema metaestável obra-humano-meio. As paisagens oscilam entre panoramas, presos a ilusionismos e representações miméticas; e simulacros que se formam no encontro das dessemelhanças e produzem realidades inventadas. Tais idéias são fundamentadas nas filosofias de Benetithus Espinosa, Gilbert Simondon e Gilles Deleuze. Ainda, são levadas para o campo da Arte Interativa, uma vez que estas obras se efetuam e se modificam ao longo da experiência artista/espectador/obra/meio. Deste modo, entende-se que os processos de interatividade direcionam-se para uma Ética da potência de agir dos corpos, ou seja, o quanto pode um corpo na experiência a partir das dinâmicas dos graus de interatividade na obra de arte. Tal investigação resulta na produção teórica da tese e na produção da videoinstalação “CorposAssociados” e da série de fotografias “Incorporações”. / This thesis addresses the degrees of interactivity produced with and within an artwork. The act of experiencing an artwork shows that any experience is made up of relations of intensity within processes of interactivity between bodies and milieus. It is maintained that there are various degrees of interactivity in experience: mixtures, attractions, incorporations, embodiments and perceptions. Mixtures are the voluntary and involuntary affects between bodies in associated milieus. The understanding of mixtures of bodies is related to various philosophical conceptions of immanence. Attractions speak of an animal art that shows us the potential of the milieu and the affects of bodies. The body referred to includes not only the human but non-human others as well—animal, technological, immaterial—formed by the speed or slowness of matter-taking-form. Such bodies embody life through technics and technicities which do not dissociate the natural and the artificial, the analog and the digital, matter and form. The (mis)perceptions produces an ephemeral landscapeness within the metastable system constituted by the artwork-human-milieu. The landscapes oscillate between panoramas—prisoners of illusion and mimetic representations—and simulacra which are formed in the encounter of dissimilarities which produce invented realities. These ideas are based on the philosophical writings of Baruch Spinoza, Gilbert Simondon and Gilles Deleuze and are applied to the field of interactive art in order to understand that artworks are created and modified through the artist/spectator/artwork/milieu experience. Thus, interactive processes are driven by an Ethics of the potential of bodies to act, which is to say, by what a body can do in its intensity in the dynamics of degrees of interactivity in the experience of the artwork. The research has resulted in this theory-based thesis, the production of a video installation entitled “CorposAssociados” and the series of photographs “Incorporações”.

Dans ses premières œuvres, Deleuze recherche une "pensée sans image", inséparable de la critique de "l'image de la pensée", c'est-à -dire de la représentation. Le problème, organisant alors la philosophie de Deleuze, est celui du rapport de la pensée avec l'image, problème qui est repris .et déplacé, de Nietzsche et la philosophie à Différence et répétition. Pour "décrire" les actes d'une pensée sans image, Deleuze procède en trois étapes : "le point de départ" est la critique de l'image de la pensée, la dénonciation de la représentation et de ses présupposés, qui emprisonnent et dénaturent la pensée. "Le véritable commencement" consiste, dès lors, à dégager les conditions, non de l'expérience possible comme dans la représentation, mais de l'expérience réelle, c'est-à-dire une nouvelle image de la pensée qui la libère de la représentation. A l'image représentative de la pensée, Deleuze substitue donc une nouvelle image de la pensée qui est l'ensemble des conditions d'une pensée sans image. Enfin, la troisième étape, "l'authentique répétition", est la mise à jour d'une pensée sans image, sub-représentative. Loin d'être naturelle, donnée à un penseur de bonne volonté, comme recognition, la pensée sans image est création de penser dans la pensée, pensée sauvage, nomade, qui nait sans modèle préalable, ni ressemblance : elle surgit de la rencontre violente avec le signe qui la force à penser. Autrement dit, la pensée sans image, c'est le système du simulacre. / In his early works, Deleuze looks for a "thought without image", inseparable from the critique of the "image of thought", i.e. of representation. The problem, organizing Deleuze's philosophy, is the relation of thought with the image problem that is picked up and moved, from Nietzsche and phi/osophy to Difference and repetition. To "describe" the acts of a thought without image, Deleuze proceeds in three steps: "the starting point" is the criticism of the image of thought, the denunciation of representation and its presuppositions, which trap and distort the thought. "The real beginning" consists, therefore, in identifying the conditions, not of experience possible such in the representation, but the actual experience, which is a new image of thought that frees it from the representation. The representative image of thought, Deleuze substitute to a new image of thought which is the set of conditions for a thought without image. Finally, the third step, "the authentic repetition", is the update of a thought without image, sub­ representative. Far from being natural, given to a thinker of goodwill, like recognition, the thought without image is creation of thinking in thought, thought wild, nomadic, who was born without prior model, or likeness: it arises from the violent encounter with the sign that forces it to think. In other words, the thought without image, is the system of the simulacrum.

[pt] A pesquisa empreendida baseou-se em entrevistas, realizadas presencialmente no Brasil ou a distância por Skype, e em conhecimento compartilhado, para analisar discursos de brasileiros que convivem ou conviveram com chineses, e de chineses professores de mandarim que moram no Brasil, a fim de investigar a expressividade dialógica decorrente de simulacros culturais, por meio da identificação de elementos de avaliação projetada no discurso de chineses e de brasileiros em relação à cultura da contraparte. Sob a égide dos pressupostos enunciados por Bastos e Biar (2015), Biar (2015), Riessman (2008), Pastor e De Fina (2005), Cortazzi e Jin (2001), Cavan (2006) e Said (1990). Os dados gerados buscaram promover reflexão sobre o processo de avaliação acerca da população chinesa, com base na apreciação de recortes narrativos. Para tanto, foram delimitados como objetivos gerais (a) analisar a projeção identitária refratada no discurso de um grupo de professores chineses no Brasil, em relação à interação com brasileiros, e (b) analisar a projeção identitária refratada no discurso de um grupo de brasileiros, em relação à interação com chineses; e como objetivos específicos (a) identificar recursos macro e microdiscursivos caraterísticos do discurso de migrantes, (b) classificar padrões avaliativos no discurso de chineses e de brasileiros, em narrativas sobre situação de migração e (c) categorizar elementos de simulacros culturais subjacentes às expressividades dialógicas enunciadas. Nesse sentido, o discurso foi examinado com base nos processos de avaliação de Cortazzi e Jin (2001), acerca de avaliação na narrativa, avaliação da narrativa e avaliação por meio da narrativa, a fim de investigar como as identidades foram projetadas. Como resultado, foi observado que o processo avaliativo ocorre sobretudo por meio de modalização, na narrativa, e de forma performática, por meio da narrativa, mediante expectativas interculturais (CAVAN, 2006; SAID, 1990), que geram identidades refratadas. / [en] This research was based on interviews, carried out face-to-face in Brazil or at a distance via Skype, and shared knowledge, and analyzed discourse from Brazilians who live or had some sort of relationship with Chinese whether residentes or exchange students, and Chinese who live in Brazil, working as Mandarim teachers, in order to investigate the dialogic expressivity arising from cultural simulacra, through the identification of projected evaluation elements in the discourse of Chinese and Brazilians regarding the culture of the counterpart group. The project relied on Bastos and Biar (2015), Biar (2015), Riessman (2008), Pastor and De Fina (2005), Cortazzi and Jin (2001) Cavan (2006) and Said (1990), as theoretical foundation. The data generated sought to promote reflection on evaluation processes regarding the Chinese population, based on the assessment of narrative excerpts. The dissertation aimed at the following general objectives: (a) analyzing the identity projection refracted in the discourse of a group of Chinese teachers living in Brazil, regarding their interaction with Brazilians; and (b) analyzing the identity projection refracted in the discourse of a group of Brazilians, regarding their interaction with Chinese. Specific objectives focussed on: (a) identifying macro and microdiscursive resources characteristic of the migrant discourse; (b) classifying evaluative patterns in the discourse of Chinese and Brazilians, in narratives of migration; and (c) categorizing cultural simulacra elements underlying the instances of dialogic expressivity. The discourse was examined based on the evaluation processes of Cortazzi and Jin (2001), regarding evaluation in the narrative, evaluation of the narrative and evaluation through the narrative, so as to analyze how identities were projected. As a result, it was observed the evaluation process mostly occurs by using modalization, in the narrative; and in a performative way, through the narrative and crosscultural expectations (CAVAN, 2006; SAID, 1990), which generate refracted identities.

Thesis (MA (VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study offers a critical exploration of the ways in which Jean Baudrillard’s theory of the simulacrum is ‘true’ or viable as a theory of representation in contemporary visual culture, with particular reference to digital imaging technologies. Using a selection of images and texts dating from the Renaissance to present day, I trace issues of subjectivity and self-reflexivity in modern image culture, questioning the extent to which digital imaging technology and information substantially departs from the early modern devotion to naturalistic representation (verisimilitude) as a reflection of knowledge and truth in the modern world. I offer a critique of the simulacrum theory that concerns two principle issues: firstly that simulacrum is a strictly self-reflexive operation and not an effect of digital imaging technology as Baudrillard claims; and secondly, that simulacrum necessitates an underlying dualist worldview in order to exist. With reference to the use of metaphor in magical realist texts and visual art, I draw the argument together with a discussion of my own art practice, particularly a body of work that takes Etienne van Heerden’s novel Toorberg (1986) as a starting point. The examples I refer to serve as visual evidence in support of my speculative philosophical argument against hyperreality; that is, how the simulacral nature of metaphor (as operating within a poststructuralist model of the sign) functions a critical aspect of a self-reflexive individual consciousness; and argues for subjectivity itself as inherently bound up in the operation of simulacrum. / AFRIKAANSE OPSOMMING: Hierdie studie is ’n kritiese ondersoek na die wyse waarop Jean Baudrillard se teorie van die simulacrum ‘waar’ of grondig is as ’n teorie van representasie in visuele kultuur, met spesifieke verwysing na digitale beeldtegnologie. ‘n Verskeidenheid beelde en tekste (van die Renaissance tot die moderne era) word betrek ten einde kwessies rondom subjektiwiteit en selfrefleksiwiteit in moderne beeldkultuur te ondersoek. Die mate waarin digitale beeldtegnologie en inligting merkbaar afwyk van ‘n vroeë moderne toegewydheid aan naturalistiese representasie (verisimilitude) as ‘n refleksie van kennis en waarheid in die moderne wêreld, word vervolgens krities ondersoek. Baudrillard se simulacrum-teorie word krities beoordeel: in die eerste plek is die simulacrum ‘n streng selfrefleksiewe proses en nie ‘n effek van digitale beeldtegnologie, soos Baudrillard beweer nie; en tweedens veronderstel, of noodsaak die simulacrum ‘n onderliggende dualistiese wêreldbeeld ten einde geldig verklaar te kan word. Met verwysing na die gebruik van metafoor in magies realistiese tekste en visuele kuns, word die argument saamgevat deur ’n bespreking van my persoonlike kunsprojek, vernaam ’n versameling werk wat Etienne van Heerden se roman Toorberg (1986) as verwysingspunt gebruik. Die voorbeelde waarna ek verwys ondersteun my spekulatiewe filosofiese argument teen hiperrealiteit (hyperreality); hoe die simulakrale (simulacral) aard van metafoor (soos werksaam binne ’n poststrukturalistiese model van die ‘teken’) as ’n kritiese aspek van selfrefleksiewe individuele bewussyn funksioneer. Ek argumenteer vervolgens dat subjektiwiteit sigself inherent deel is van die werking van simulacrum.

L’objectif de la thèse est de montrer en quoi le roman ou la littérature incarne une forme de connaissance qui lui est propre, que Pierre Klossowski appelle la « connaissance pathétique ». Celle-ci fait appel aux passions plutôt qu’à la seule raison et repose sur des percepts et des affects bien davantage que sur des idées et sur des concepts. L’œuvre romanesque de Georges Bataille et de Pierre Klossowski me servira d’exemple et d’objet d’analyse, dans la mesure où l’écriture fictionnelle y est toujours au service d’une ‘’passion’’ philosophique, dans laquelle l’auteur entraîne ses personnages en même temps que le lecteur. Cette « connaissance pathétique » que le sujet est amené à vivre passe notamment par les mécanismes d’une écriture qui tente d’énoncer l’innommable. Cette orientation esthétique suit la voie tracée par Nietzsche, et les grandes thématiques associées à ce dernier constituent à la fois, au niveau de l’énoncé, un contenu thématique et diégétique récurrent (par exemple : dans Le Baphomet, nous sommes en présence du personnage de Friedrich l’Antéchrist) et, au niveau de l’énonciation, une stratégie narrative qui consiste à piéger le lecteur dans un système d’interprétations ambiguës, contradictoires et provocatrices qui déclenchent chez lui une activité cognitive effrénée, de nature passionnelle ou pathétique (par exemple : Le récit Les lois de l’hospitalité commence par un avertissement au lecteur, où on le met en garde contre « l’attrape concertée » que représente le récit). J’étudierai en détail, sur le plan de l’expression et du contenu, ces stratégies cognitives de la transgression et du simulacre grâce auxquelles l’auteur amène ses personnages et son lecteur à éprouver des pensées comme une forme de passion. L’analyse de la poétique pathique comme forme privilégiée de l’écriture narrative chez Pierre Klossowski et chez Georges Bataille nécessitera le recours à une analyse de l’œuvre de Nietzsche et de Sade dans un premier temps pour retracer ce qui est l’enjeu de la réception de ces œuvres par les deux auteurs français. Dans un deuxième temps, l’analyse des œuvres de Georges Bataille et de Pierre Klossowski me permettra de comprendre comment elles déclenchent chez le lecteur une expérience pathétique où la difficulté d’atteindre à une connaissance rationnelle univoque déclenche chez le destinataire du texte une activité cognitive complexe de nature proprement littéraire ou romanesque. Enfin, le corpus qui me servira d’exemple dans la description de ces phénomènes sera constitué des principales œuvres discursives de Bataille et de Klossowski (L’expérience intérieure, Nietzsche et le cercle vicieux) ainsi que de leurs œuvres romanesques (L’histoire de l’œil, Divinus Deus, L’abbé C., La vocation suspendue, Les lois de l’hospitalité et Le Baphomet). / This thesis aims to show how the novel or literature in general embodies its own form of knowledge that Pierre Klossowski names “connaissance pathétique” (pathetic knowledge). This knowledge derives from emotivity rather than reason alone and relies on affects and percepts rather than on ideas and concepts. The works of Georges Bataille and Pierre Klossowski will serve both as the examples and the objects of this analysis. These two authors’ fictional writings inevitably appeal to a philosophical pathos that implicate the characters as well as the reader. This “pathetic knowledge” that the subject is called to experience comes to be through the literary process seeking to name the unnamable. This particular aesthetic draws upon Nietzsche’s work, the themes of which taken up in Bataille and Klossowski writings and appear on the levels of subject matter and narration. The resulting writing strategy leads the reader along, presenting a system of provocative, contradictory, and ambiguous interpretations that open up an affect-oriented knowing or thinking. In studying the expression and content of this literary knowing, we will examine how the authors rely on strategies of transgression and simulacra to enable the characters and readers to experience thinking as a form of pathos. In analyzing this “pathetic” poetics as the privileged form of narration in Bataille and Klossowski, this thesis first examines the works of Nietzsche (and, to a lesser extent, those of Sade) in order to understand their impact on the French authors’ works. The thesis’ second part, which focuses on Bataille’s and Klossowski’s writings, demonstrates how their works provoke in the reader a pathetic experience of knowing, particular to literature, that exceeds the knowing ascribed to rationalism. The corpus explored in this research includes Nietzsche’s Birth of Tragedy, The Genealogy of Moral and The Gaya Scienza; Bataille’s L’histoire de l’oeil, Divinus Deus and L’abbé C.; and Klossowski’s La vocation suspendue, Les lois de l’hospitalité and Le Baphomet.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-15T12:20:52Z No. of bitstreams: 1 Rafael Alberto Alves dos Santos.pdf: 67754761 bytes, checksum: fc1d70cf101f7502730af69d47551488 (MD5) / Made available in DSpace on 2018-08-15T12:20:52Z (GMT). No. of bitstreams: 1 Rafael Alberto Alves dos Santos.pdf: 67754761 bytes, checksum: fc1d70cf101f7502730af69d47551488 (MD5) Previous issue date: 2018-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / "Which simulacrum of Pope does the Paulista press media build when showing us the leaders of the Roman Catholic Apostolic Church after its respective elections?" That problematic guides the present dissertation. Using a corpus from "O Estado de S. Paulo" newspaper pages and the "Folha de São Paulo" in a 135 period of years, it is possible to analyze how this media plans a typology confronting its own values with the ones from the Catholic Church, which shows the thematic role of the Pope. The hypothesis is that the newspaper shows ways of presence for each Pope according to their own interests, trying to deceive the image of the elected Cardinal. Still, in a new perspective of the new theory that despite the restrictions of the Church, the simulacrum carries a way of being in the World deceived by individual characteristics from each Cardinal that is elected - in a syncretism of destinators. This investigation aims to deepen the reflection about language syncretism in the truths of the analyzed pages. On one hand, the Church as a destinator schedules the thematic route for the Popes. This route is lived by one Cardinal, himself as a destinator. In the Saint Peter Basilica balcony, these routes unify themselves and are projected for the World. Captured by the media, the scene is reorganized in another way through the newspaper pages by the language syncretism - verbal, visual and spacial. The theoretical foundation is the Discursive Semiotic, created by Algirdas Greimas and its unfolding in the Social Semiotics by Eric Landowski. It is taken to consideration the Plastic Semiotic, organized by Jean Marie Floch and build on by Ana Claudia Oliveira, especially in the studies of esthesia that make us feel the new Pope. The results aim to the possibility of a link between the simulacrum typologies built by the medias with interaction and risks, showing in the media projection the Catholic leaders and that there is a predominance in the hazards of accidents that reveals a dynamic by visibility. The new is, in fact, a figurativization of the new that remains in its depths with the intentionality and propagations of the Church's old speech / “Quais simulacros de Papa a mídia impressa paulista constrói ao dar a ver os líderes da Igreja Católica Apostólica Romana logo após suas respectivas eleições?” é a problemática que norteia a presente dissertação. A partir de um corpus de páginas dos jornais “O Estado de S.Paulo” e “Folha de S.Paulo” num período de 135 anos, analisa-se como essa mídia projeta tipologias confrontando seus valores com os da Igreja Católica, programadora do papel temático “Papa”. A hipótese é a de que os jornais circulam modos de presença de cada Papa conforme seus interesses, pasteurizando as identidades do Cardeal eleito. Ainda assim, postula-se, numa perspectiva nova da teoria, que apesar das prescrições da Igreja, o simulacro projetado carrega consigo o modo de ser e de estar no mundo forjado pelas características individuais de cada Cardeal que assume a função – num sincretismo de destinadores. A investigação tem o objetivo de aprofundar a reflexão sobre o sincretismo de linguagens na concretude das páginas analisadas. De um lado, o destinador Igreja programa o percurso temático dos Papas. Esse percurso é vivido por um Cardeal específico, ele próprio um destinador. Na sacada da Basílica de São Pedro, esses percursos se unificam e se projetam para o mundo. Capturada pela mídia, a cena é reorganizada em outra manifestação que articula nas páginas dos jornais o sincretismo de linguagens – verbal, visual e espacial. A fundamentação teórica é a da Semiótica Discursiva, elaborada por Algirdas Greimas, e seus desdobramentos na Sociossemiótica de Eric Landowski. Leva-se em consideração a Semiótica Plástica, organizada por Jean Marie Floch e aprofundada nos estudos de Ana Claudia Oliveira, em especial no estudo da estesia das qualidades sensíveis que fazem sentir o novo Papa. Os resultados apontam para a possibilidade de uma articulação entre as tipologias dos simulacros construídos pelas mídias com os regimes de interação e risco, mostrando que na projeção midiática dos líderes católicos há uma predominância nas dêixis do acidente e do ajustamento que revelam uma dinâmica pela visibilidade. O novo é, na verdade, uma figurativização do novo que mantém, na profundidade, as intencionalidades e programações do velho discurso da Igreja

Made available in DSpace on 2016-04-25T19:20:13Z (GMT). No. of bitstreams: 1 Nadia Garcia Basso.pdf: 8975347 bytes, checksum: c301e85effd16c42273715fad9b94b1b (MD5) Previous issue date: 2011-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The television media becomes the stage and pulpit of new religious actors, especially the neo-Pentecostal pastors who believe in the strength of this effective tool to acquire a new herd, through virtuality. The church parades on the TV catwalk. Since modern communication strategies, the Universal Church of the Kingdom of God acquired this visibility using mainly the mass media and among all projects in the area, the Rede Record TV shows to be the most ambitious. High investments occurred in the technical and programming of the station at the hearing reflected that success, at the point of taking the runner-up position in audience at various times on TV. The influence of the station is also noticed in the pews of Bishop Edir Macedo; many testimonies confess that it was through religious programming, on the Rede Record TV dawns, which led the faithful to participate in the meetings in the temples. However, the priority is not to conquer the UCKG huge audience, but to establish a contract between sender and recipient of the communication so that the viewer becomes a consumer of the religious services offered and symbolic goods. The study object of this research is the television media as an instrument of IURD disclosure of his religious ideals. It is intended to analyze the use of persuasion of the religious discourse of television IURD in the process of conversion of the faithful reconstruction of the sacred and the value proposition designed by media resources, specifically the television media. Although the theme of the Brazilian neo- Pentecostal scenario, which emerges with much impact, the Universal Church of the Kingdom of God, has been approached with a special interest for researchers in the field of Religious Science, we believe that research can establish boundaries, as where we adopt the concept of bias of Simulacrum and the Baudrillardian vision about the age of image and new technologies, the virtual and the extinction of the ideological truths , as the theoretical basis of this research in relation to the UCKG media empire in post-modernity. Delimiting the object further, we intend to examine the program say, that I listen to you from IURD so we turn to the postmodern characteristics, with special emphasis on the analysis of simulacrum that permeates contemporary television communication / A mídia televisiva torna-se palco e púlpito de novos atores religiosos, especialmente os pastores neopentecostais, que acreditam na força desse instrumento eficaz, para conquistar um novo rebanho, por meio da virtualidade. As igrejas desfilam na passarela televisiva. A partir de estratégias modernas de comunicação, a Igreja Universal do Reino de Deus adquiriu essa visibilidade utilizando principalmente os meios de comunicação de massa e entre todos os projetos na área, a Rede Record de Televisão demonstra ser o mais ambicioso. Altos investimentos ocorreram no aspecto técnico e na programação da emissora que refletiram na audiência conseguida, a ponto de assumir a vice-liderança no Ibope em vários horários na TV. A influência da emissora também é percebida nos bancos da igreja do bispo Edir Macedo, muitos testemunhos confessam que foi através da programação religiosa, presente nas madrugadas da Rede Record de Televisão, que induziram os fiéis a participarem das reuniões nos templos. No entanto, a prioridade da IURD não é conquistar altos índices de audiência, mas estabelecer um contrato entre destinador e destinatário da comunicação para que seu telespectador se torne um consumidor dos serviços religiosos e bens simbólicos oferecidos. O objeto de estudo dessa pesquisa é a mídia televisiva da IURD como instrumento de divulgação de seu ideário religioso. Pretende-se analisar a potencialidade de persuasão do discurso religioso televisivo da IURD, no processo de conversão dos fiéis, na reconstrução do sagrado e proposição de valores projetados por meio de recursos midiáticos, especificamente, a mídia televisiva. Embora, o tema sobre o cenário neopentecostal brasileiro, no qual emerge com muito impacto, a Igreja Universal do reino de Deus, tenha sido abordado com um especial interesse pelos pesquisadores da área de Ciências da Religião, consideramos possível estabelecer demarcações nessa pesquisa, na medida em que adotamos o viés do conceito de Simulacro e da visão baudrillardiana, sobre a era da imagem, das novas tecnologias, do virtual e da extinção das verdades ideológicas, como base teórica dessa pesquisa em relação ao império midiático da IURD na pós-modernidade. Delimitando ainda mais o objeto, pretendemos analisar o programa Fala que eu te escuto da IURD a fim de adentrarmos nas características pós-modernas, com ênfase especial no enfoque de simulacro que permeiam a comunicação televisiva contemporânea