Orientador: Jose Mario Ortiz Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-26T21:47:15Z (GMT). No. of bitstreams: 1 Bueno_ZuleikadePaula_M.pdf: 17367383 bytes, checksum: f7e15bb5c600c70707c35e61fed80a15 (MD5) Previous issue date: 2000 / Resumo: A dissertação aborda a carreira cinematográfica de Carlos Diegues, um dos mais importantes cineastas brasileiros, durante os anos de 1960 até 1979 analisando a trajetória artística do diretor durante os anos do Cinema Novo, passando pela constituição da Embrafilme e se estendendo até a produção de BYE BYE BRASil. Procuramos destacar a posição dominante que o cineasta ocupa no campo cinematográfico brasileiro bem como as suas transformações de seu estilo cinematográfico visando a realização de um "cinema do tempo presente" / Abstract: This dissertation has as purpose expose the career of Carlos Diegues, one of the most important Brazilian filmmaker, from 1960 to 1979 studying his trajectory during the years of the Cinema Novo, passing through the establishment of Embrafilme until the production of BYE BYE BYE. We showed his dominant position into Brazilian cinematography field of work as well as his frequently changes into a cinema called 'the cinema of the present" / Mestrado / Mestre em Sociologia

Orientador: César Aparecido Nunes / Dissertação (mestrado) - Universidade Estadual de Campionas, Faculdade de Educação / Made available in DSpace on 2018-08-21T20:38:06Z (GMT). No. of bitstreams: 1 Pereira_CarlosCesarFernandes_M.pdf: 585334 bytes, checksum: 1f93474945d4713cd0bf80e88fa8e707 (MD5) Previous issue date: 2012 / Resumo: O presente trabalho de dissertação se trata de um estudo sobre a categoria de barbárie no pensamento de Walter Benjamin e de que forma se articula à educação. Para isso, em um primeiro momento, buscou-se entender como foi o processo de construção do pensamento de Walter Benjamin. Em seguida, houve a sepação de algumas categorias e preposições acerca de seu pensamento. Por fim, buscou-se articular estas categorias e preposições à educação. Com isso, surgiram alguns apontamentos para a superação da barbárie. / Abstract: This dissertation it is a study on the category of barbarism in the writings of Walter Benjamin and how education is structured. For this, at first, we sought to understand how was the process of building the writings of Walter Benjamin. Then there was the sepação some categories and propositions about their thinking. Finally, we attempted to link these categories to education and prepositions. Thus, there were some issues to overcome barbarism. / Mestrado / Filosofia e História da Educação / Mestre em Educação

Orientador: Jeanne Marie Gagnebin de Bons / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-02T11:59:47Z (GMT). No. of bitstreams: 1 Gatti_LuciannoFerreira_M.pdf: 11555354 bytes, checksum: a11266b2f442f5b205075c06329fdb56 (MD5) Previous issue date: 2002 / Resumo: O objetivo desse trabalho é analisar, por meio das noções de memória e distanciamento, a teoria da experiência que Walter Benjamin desenvolveu no ensaio Sobre Alguns Temas em Baudelaire (1939). Nossa abordagem ocorrerá em dois momentos. No primeiro deles, vou me concentrar sobre a impossibilidade histórica, que Benjamin diagnostica a partir da poesia do spleen de Baudelaire, de realização da experiência na modernidade. Examinarei a vinculação entre o surgimento da modernidade nos textos de Baudelaire e uma forte preocupação com a questão do tempo. Para isso introduzirei o conceito de novo, essencial na estética de Baudelaire e responsável, segundo Benjamin, pela alteração na apreensão do tempo que se desdobrará no declínio da experiência. Tentarei mostrar como Benjamin caracteriza a reflexão sobre a impossibilidade da experiência como o cerne da poesia do spleen, ao mesmo tempo em que, pela caracterização do fenômeno da multidão, o vincula às circunstâncias de vida modernas, reunidas no conceito de vivência do choque. No segundo capítulo, procurarei circunscrever essa concepção plena de experiência que Benjamin opõe à vivência do qhoque. Vou me deter na interpretação do romance de Proust Em Busca do Tempo Perdido e naqueles poemas de Baudelaire que Benjamin identifica como marcados pela esforço de reconstruir uma experiência no sentido estrito do termo. Ao mesmo tempo, tentarei diferenciar suas concepções de memória, bem como as conseqüências dessa diferença para a teoria da experiência de Benjamin. Ao final desse percurso, esperamos ter recuperado elementos necessários para a localização de um problema que Benjamin inseriu no centro de seu trabalho sobre o século XIX parisiense: a possibilidade de reconstrução da experiência na modernidade / Abstract: The aim of this work is to analyse, by the concepts of memory and distance, the theory of experience that Walter Benjamin developed in the essay On Some Motives in Baudelaire. Our approach is divided in two chapters. On the first one, I'm going to focus the historical impossibility, detected by Benjamin in the spleen poetry by Baudelaire, of realisation of the experience in modernity. I shall examine the link between the arise of modernity in Baudelaire's texts and a strong concern about the matter of time. I'm going to introduce the concept of new, essential to Baudelaire' aesthetics, and responsible, as Benjamin says, for the change in the apprehension of time that resulted in the decline of experience. I shall try to show how Benjamin characterises the reflection about the impossibility of experience as the heart of the spleen poetry, at the same time as he, by the characterisation of the phenomena of the crowd, links it to the modern conditions of life, assembled in the concept of lived experience of chock. On the second chapter, I'm going to circumscribe the authentic concept of experience that Benjamin opposes to the lived experience. I shall detain on the interpretation of Proust' novel Remembrance of things past and on the poems of Baudelaire identified by Benjamin by the attempt to reconstruct an authentic experience. At the same time, I shall try to distinguish their concepts of memory, as well as the consequences of this difference to Benjamin's theory of experience. At the end of this way we hope to have recovered important elements to the localisation of a question that Benjamin put at the heart of his research on the Parisian XIX century: the possibility of reconstruction of experience in modernity / Mestrado / Mestre em Filosofia

Orientador: Pedro Paulo Abreu Funari / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T02:46:20Z (GMT). No. of bitstreams: 1 Silva_GlaydsonJoseda_D.pdf: 1833896 bytes, checksum: 0dc2ffab6a911066f09ab355ccba7cc9 (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem por objetivo analisar os usos do mundo antigo, pela História e pela Arqueologia, como forma de estabelecer compreensões do mundo contemporâneo. Propõe uma reflexão acerca do papel do passado nos jogos de estratégia e afirmações identitárias, à medida que percebe os estudos sobre a Antigüidade muito próximos das representações coletivas na contemporaneidade. Parte da premissa de que o saber sobre o passado, sua e escrita e suas leituras, são poderes e geram poderes. Do ponto de vista temático, trata da apropriação do passado gaulês, romano e galo-romano na França durante o Regime de Vichy (1940-1944). Mas trata, também, da inserção do objeto num contexto mais amplo, europeu, na medida em que analisa as instrumentalizações da Antigüidade pelo Nazismo e pelo Fascismo. Aproxima-se do objeto com uma análise das figurações da Gália e dos gauleses na historiografia francesa, principalmente a partir do século XIX. Trata do estatuto dos historiadores ao se relacionarem com os poderes do Estado, especificamente, no caso, de Jérôme Carcopino, notável romanista que foi ministro da educação sob Vichy. Por perceber na sociedade francesa atual uma presença muito marcante da Antigüidade, como forma de legitimação de direitos, advindos da origem, analisa-se, também, as formas de apropriação do mundo antigo pelas extremas direitas, representadas no trabalho pelo Front National e pelo grupo Terre et Peuple / Abstract: The purpose of this research work is to analyze the uses of the ancient world by the fields of History and Archaeology as a way to establish understandings of the present world. As ancient studies are very close to present time collective representations, this study proposes a reflection on the role of past in strategy and identity affirmation games. It has as a premise the notion that knowledge of the past, its writing and its interpretations, are powers and create powers. In terms of subject, this study focuses on the appropriation of the Gaul, Roman and Gaul-Roman past during the Vichy Regime (1940-1944). It also analyzes the subject within a greater European frame, for it focuses on the 'instrumentalizations¿ of Antiquity by the Nazi and Fascist regimes. It analyzes, especially from the 19th century on, the characterizations of Gaul and Gaul people in French historiography. It focuses on historians¿ status while they related to State powers, as in the case of Jérôme Carcopino, remarkable scholar in Roman studies, who was Minister of Education under the Vichy regime. As Antiquity is present everywhere in modern French society, this research work also analyzes the different forms of appropriation of the ancient world by extreme Right parties, represented in the text by the Front National party and the Terre et Peuple grou / Doutorado / Historia Cultural / Doutor em História

This thesis examines three South African memoirs using M. M. Bakhtin’s theories of the dialogical relationship in language and literature. By offering an alternative to a postmodern or multicultural interpretation of autobiographies, Bakhtin’s precepts, that define a dialogic, help to reframe a way of discussing memoirs and avoiding dead-ends previously arrived at by essayists in James Olney’s 1980 collection. Bakhtin’s ideas discussed here, which include the “once-occurrent moment”, “architectonic contraposition”, ”emotional-volitional tone”, “alibi”, “non-alibi”, and “centripetal” and “centrifugal” force, help to rebuild a discussion based on temporary and evolving self truth rather than fiction, the postmodern interpretation, or confession, the new-age secular spiritualism based on multicultural and politically correct standards. For this, each author’s memoir had to be examined separately and a conclusion was arrived at through inductive analysis. Rather than try to find similar characteristics, I focused on what made each memoir different and unique. Janet Varner Gunn’s Autobiography: Toward A Poetics of Experience (1982) refocused the debate over autobiography on process. The question, what steps did each author take toward writing about himself, led the discussion to an examination of the priorities each author exemplified. Beginning with Fugard who emphasized spatial, concrete, and sensory detail to help him contain his emotional life, the thesis moves on to an examination of Coetzee’s sense of justice. From the physical and intellectual world follows Breytenbach’s spiritual space-making. In each memoir, control of space is evident on different levels of experience. Articulating space inevitably leads to a discussion of boundaries. Here, Charles Taylor’s emphasis on the modern self’s need to articulate a horizon or a framework is helpful in generalizing the effect of the autobiographical process. The conclusion reached is that autobiography is inherently centrifugal: it moves away from the center of cultural thinking because its “truth” bolsters itself on dialogical process which does not depend on a fixed authority but rather on communicative exchange. As an example of exchange, autobiography’s central truth is that it returns to a “unique point of origin”, namely the self, only to reconnect to the other in a potentially eternal exchange of responsiveness moving away from the center.

No description available.

Psychobiography can be viewed as the re-writing of an individual’s life story previously undetected. In general it consists of a combination of two central elements: biography and psychological theory that aim to explain the particular individual’s psychological development. This particular study serves to explore the extraordinary life of renowned singer, songwriter, artist and activist, John Winston Lennon (1940-1980). The basis for this investigation will take the form of notable biographical accounts of the subject’s life, together with Austrian psychiatrist Alfred Adler’s (1938) theory of Individual Psychology, which recognizes the importance of human society for the development of individual character and the orientation of every single action and emotion in the life of a human being. Adler’s theory further explores that the main motives of human thought and behaviour are an individual’s striving for superiority and power, partly in compensation for his feeling of inferiority. The psychobiographical data collection and analysis for this research thesis will be guided by Yin’s (1994) theory of ‘analytic generalisation’, which uses a theoretical framework in selecting relevant data which develops a matrix as a descriptive framework for organizing and integrating that data, and Alexander’s (1988) analytical model which focuses on lifting out themes through principal identifiers of salience was used and applied. John Winston Lennon expressed his personal experiences and ideals through his songs and became the spokesman for his generation on modern day issues such as feminism and world peace. It is however, unfortunate that Lennon throughout his life remained a boy who felt rejected and unloved by his parents and strove to be superior in all aspects of his rich life in an attempt to acquire the love and acceptance that was not bestowed on him as a child.

The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.

My dissertation examines the role played by the surrealist object in the avant-garde strategies of the French surrealist group, in the difficult political circumstances of the 1930s. In my reading, the surrealist object is located in a critical relation to modern art; it depends on the invention of collage for its own realization, but it also attempts to supersede modernism through an act of desublimation, the return of art to its sexual origins. A n understanding of this critical relation is established through Peter Burger's Theory of the Avant-Garde, through the use of psychoanalytic theory, and through an understanding of the difference between Kantian and Hegelian aesthetics. The object's invention in 1931 is then related to the cultural debates occurring on the revolutionary left in France and the Soviet Union. The surrealists wish to achieve an alliance with the Parti Communiste Francais, but avoid the politicization of the cultural field undertaken by the Communists in both countries. They answer the demand for the politicization of art with the supersession of art, for which the object provides a model. In the 1930s, the surrealists develop the notion of a revolutionary science that would forge a relation between action and interpretation. They attempt to indicate such a relation in a number of experimental texts, taking unconscious thought as the object of their investigation. As a central category of their reflection in this period, the surrealist objects are often given as extra-aesthetic examples of such thought in physical form. The rise of the Popular Front and the move of the P.C.F. towards a reformist politics presented a crisis for the surrealist movement. A number of surrealists, like Tristan Tzara, Rene Char and Roger Caillois, split with their group in order to work with the Popular Front, while the larger part of the surrealist group broke with the P.C.F. and the Soviet Union. The break with Stalinism led the surrealists to the point of an alliance with the modern art they had once claimed to supersede; from now on, interpretation would be preserved, at the expense of action. The surrealist object, which had exemplified the relation between action and interpretation, begins to recede from view after 1936, as the avant-garde project that had brought it into being became increasingly difficult to sustain. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Orientador: Jeanne Marie Gagnebin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T16:16:46Z (GMT). No. of bitstreams: 1 Damiao_CarlaMilani_D.pdf: 721987 bytes, checksum: 1b53eb3d5a03f5a4ebf062f5f3ddc863 (MD5) Previous issue date: 2003 / Resumo: O tema dessa tese participa da fronteira entre filosofia e literatura, concentrando-se no debate sobre a questão da subjetividade e da narrativa autobiográfica. Dentro desse tema, investigamos um projeto de Walter Benjamin, cuja intenção seria a de comparar as Confessions de Jean-Jacques Rousseau com o Journal de André Gide. Dessa comparação deveria surgir uma crítica histórica que apontasse para o declínio da sinceridade como a marca de um caráter social. Da investigação desse projeto ampliamos a discussão para a relação entre filosofia e narrativa autobiográfica, ressaltando os seguintes aspectos: a constituição da subjetividade e da identidade narrativa; o problema da verdade ou sinceridade do relato; a questão da memória. As diferentes interpretações, quase sempre conflitantes, colaboram na fundamentação do projeto anunciado por Benjamin e nos conduz a outros exemplos de narrativas autobiográficas na filosofia. O Ecce Homo de Nietzsche e a Berliner Kindheit de Benjamin, associadas à recherche proustiana, são obras que se relacionam entre si quanto à concepção de identidade narrativa como medium, do qual emerge uma compreensão diferente de subjetividade / abstract: The theme of this thesis lies somewhere in the borderland shared by philosophy and literature, and concentrates on the debate over the question of the self and autobiographical writing. Within this theme we have investigated a Walter Benjamin project in which he sought to compare the Confessions of Jean-Jacques Rousseau with the Journal of André Gide. As a result of this comparision, there should emerge a historical critique that would indicate a decline in sincerity as a sign of social character. From the investigation of Benjamin¿s project we broadened the discussion concerning the relationship between philosophy and autobiographical writing, highlighting the following aspects: the constitution of the self and the narrative identity; the matter of truth and sincerity in the narrative; the question of memory. The different, often conflicting, interpretations enable us to anchor the investigation of Benjamin¿s project and lead us to other examples of autobiographical writing in philosophy. Nietzsche¿s Ecce Homo and Benjamin¿s Berliner Kindheit, related to the Proustian Recherche, are linked to each other wherever identity is conceived in the narrative as a medium from which a different understanding of self emerges / Doutorado / Doutor em Filosofia