Syftet med denna kvalitativa studie är att studera blivande psykoterapeuters motiv att utbilda sig till psykoterapeuter och att undersöka om de angivna                      motiven skiljer sig åt beroende på grundutbildning och val av teoretisk inriktning på studierna. Studien genomfördes med hjälp av en enkät där deltagarna i undersökning fick svara på öppna frågor om motiv som fått dem att söka psykoterapeututbildningen samt gradera hur deltagarna stämde in i ett antal tänkbara motiv att välja att utbilda sig till psykoterapeut. Med en kvalitativ ansats och genom att företa en induktiv analys av resultatet kunde tretton temakategorier som motiverar att välja psykoterapeutyrket upptäckas; ökad kunskap, ökad kompetens och bättre behandlingsresultat, personligutveckling/personliga egenskaper, karriär/arbetslivssituation, autonomi, status/ekonomi, att komma vidare i en yrkesroll,legitimation/legitimitet, påverkan av en signifikant person eller litteratur,altruism, försvar och egna svårigheter, förväntade belöningar samt ökad tryggheti arbetet. Blivande psykoterapeuter med psykodynamisk eller relationell inriktning angav i större utsträckning motiv som kunde relateras inre konflikter och svåra erfarenheter i livet än vad dem med kognitiv                       beteendeterapeutisk inriktning gjorde.

LIMA, Jefferson Pinheiro. A doutrina transhumanista como moral transcendente & a filosofia de Deleuze & Guattari como resistência ética imanente na contemporaneidade. 2017. 266f. Dissertação (Mestrado) - Universidade Federal do Ceará, Programa de Pós-Graduação em Filosofia, Fortaleza (CE), 2017. / Submitted by sebastiao barroso (jrwizard2209@hotmail.com) on 2017-10-05T12:02:06Z No. of bitstreams: 1 2017_dis_jplima.pdf: 2142223 bytes, checksum: 40fb00af3d9578e534591aa57bb00fb5 (MD5) / Rejected by Márcia Araújo (marcia_m_bezerra@yahoo.com.br), reason: Estamos devolvendo a dissertação de JEFFERSON PINHEIRO LIMA para fazer as alterações indicadas pela bibliotecária Eliene Vieira de Moura: margens, espaçamento das folhas pré-textuais, sumário (formatação), espaçamento das citações longas, citações (escolher autor-data ou notas de rodapé), referências (corrigir), que estão em desacordo com a ABNT. Qualquer dúvida sobre as alterações, falar com a referida bibliotecária na Biblioteca das Casas de Cultura Estrangeira/UFC. on 2017-10-09T12:20:17Z (GMT) / Submitted by sebastiao barroso (jrwizard2209@hotmail.com) on 2017-11-06T12:48:38Z No. of bitstreams: 1 2017_dis_jplima.pdf: 2101023 bytes, checksum: 635975d93b702b6b6a3b54dceb27ffc5 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-11-07T18:24:59Z (GMT) No. of bitstreams: 1 2017_dis_jplima.pdf: 2101023 bytes, checksum: 635975d93b702b6b6a3b54dceb27ffc5 (MD5) / Made available in DSpace on 2017-11-07T18:24:59Z (GMT). No. of bitstreams: 1 2017_dis_jplima.pdf: 2101023 bytes, checksum: 635975d93b702b6b6a3b54dceb27ffc5 (MD5) Previous issue date: 2017 / This research seeks to present the post-humanist doctrine, conceptualise it, and present how this way of thinking has been utilising high-end current techno-scientific development (digital technology, genetic engineering, nanotechnology, artificial intelligence) as a promise of mankind‟s progressive improvement, having in its sights the total domination over life on the planet. Through the presentation of the research and discourse of some of transhumanism‟s most prominent theoreticians, this research seeks to demonstrate how the transhumanist philosophy constitutes as morally transcending through the technical overcoming of senses. Furthermore, it also seeks to establish what is the transhumanist philosophy‟s relation with the powers of the State and with cognitive capitalism and what are the ethical dangers of such an association, especially given its projections of infinite and unlimited betterment of the so-called human characteristics (super anthropocentrism with pretensions of immortality. In order to problematise and suggest ways of resisting the transhumanist intent, the works of Gilles Deleuze (1925-1995) and Félix Guattari (19301992) form the basis of this endeavour. These authors, by offering us a philosophy that affirms a purely inherent mode of thought, provide us with their concepts of selftransformation and of the body without organs, for example; intensive ways of living, of experimenting singularising ethics, that are not limited to the totalising moral of mere extended life promised by the transhumanists. Deleuze and Guattari propose life not as something to be conserved and improved upon at any cost, but a life as a potent existence that resists, that combine with other unique forces of life, not human, not majoritarian (to become animal, become child, become aboriginal), that configurates itself with the outside; a finite and non-evolving minoritarian life, that does not allow itself to be seduced by the salvationist discourse of the end of all suffering and of the perfecting in obedience to the majoritarian power, here represented by transhumanism. / A presente pesquisa busca apresentar a doutrina transhumanista, conceituá-la e demonstrar como tal maneira de pensar vem se utilizando do atual desenvolvimento tecnocientífico de ponta (tecnologia digital, engenharia genética, nanotecnologia, inteligência artificial) como promessa de aprimoramento progressivo da humanidade, tendo em vista sua máxima dominação sobre a vida do planeta. Através da apresentação das pesquisas e dos discursos de alguns de seus teóricos eminentes, procura demonstrar como a filosofia transhumanista se constitui como moral transcendente, pela superação técnica do sensível. Investiga ainda qual a sua relação com os poderes de Estado e do capitalismo nomeado cognitivo, quais os perigos éticos de tal associação com suas projeções de melhoramento infinito e ilimitado das chamadas características humanas (super antropocentrismo com pretensões de imortalidade). De modo a problematizar e sugerir maneiras de resistir ao intento transhumanista, o trabalho se vale, sobretudo, da filosofia de Gilles Deleuze (1925-1995) e de Félix Guattari (1930-1992). Os autores, ao oferecerem uma filosofia que afirma um modo de pensar puramente imanente, nos proporcionam com seus conceitos de devir e corpo sem órgãos, por exemplo, maneiras intensivas de viver, de experimentar éticas singularizantes, que não se bastam na moral totalizante da mera vida extensiva prometida pelos transhumanistas. Deleuze e Guattari afirmam a vida não como algo a ser conservado e melhorado a qualquer custo, mas uma vida como existência potente que resiste, que se compõe com outras forças de vida únicas, não humanas, não majoritárias (devir-animal, devir-criança, devir-índio), que se configura com o fora, vida minoritária finita não evolutiva, que não se deixa seduzir pelos discursos salvacionistas do fim de todo o sofrimento e do aperfeiçoamento em obediência ao poder majoritário aqui representado pelo transhumanismo.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Imagens de um corpo de mulher: (re)criações na obra de arte de Clarice Lispector e Frida Kahlo é uma pesquisa de ordem literária e filosófica, que tem como objetivo encontrar um corpo de mulher através da análise de parte da produção literária de Clarice Lispector e plástica de Frida Kahlo, experimentada também pela pesquisadora no exercício desta escrita acadêmica. Com o método comparativo, esta dissertação propõe apresentar zonas fronteiriças entre a plasticidade e a textualidade, tanto da palavra, quanto da imagem. Tendo como ponto de interseção o corpo, há uma escritora que pinta e uma pintora que escreve: neste duplo deslocamento, vislumbram-se cruzamentos das quais insurgem corporalidades cuja constância é estar em transformação. Nos processos criativos das duas artistas pesquisadas, são tênues os limiares entre vida e arte. Coloca-se em questão o conceito de representação, já há muito tempo em crise, e possibilita o uso do termo (re)criação. No livro Água Viva, de Clarice Lispector, uma personagem-pintora realiza uma metaescrita, discutindo as limitações e os alcances do próprio ato de escrever. Nos quadros de Frida Kahlo, é recorrente a presença de uma figura corpórea marcada por procedimentos cirúrgicos, fruto da condição enferma que acompanhou a artista por toda sua trajetória. Cada uma, a seu modo e a partir de seu próprio corpo vivente, produziu (re)criações que implicam, em suas obras de arte, o leitor e o fruidor, inclusive a pesquisadora. Diante desse panorama, destacam-se os imbricamentos entre a Literatura e a Pintura, assim como entre a Arte e a Filosofia. Este trânsito não só aponta, mas também gera corpos poético-conceituais. A cintilação destes encontros, pois, é o devir aqui estudado um corpo de mulher por vir / Images of a womans body: Clarice Lispector and Frida Kahlos art re-criation is a literary and philosophic research that aims to find a womans body through the analysis of part of Clarice Lispectors literature and Frida Kahlos plastic arts, also experimented by the researcher during this academic writing.Using the read-across approach, this thesis proposes to present the connection between plasticity and textuality, both the word and the image. Taking as a point of intersection the body, there is a writer who paints and a painter who writes: in this exchange its possible to see a meeting point from where corporalities whose constancy is to be transforming emerge. There is a thin line between life and art in the creative processes of the two researched artists. The representation concept, not often used, is discussed, which makes possible the use of the word re-creation.In Clarice Lispectors book called Água Viva, a writer-characterwrites about the limits and scopes of her own writing act.It is common to find in Frida Kahlos paints a corporeal figure with surgical procedures scars due to her ailing condition that lasted her whole career. Each one in their own way and from their own living body produced re-creations that involve, in their artwork, the reader and spectator, including the researcher.According to what has been discussed we highlight the connections between literature and painting, as well as between art and philosophy. This relation not only points, but also creates poetic and conceptual bodies. These connectionsrefer to a series of transformations, studied here - a woman's body to come

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Imagens de um corpo de mulher: (re)criações na obra de arte de Clarice Lispector e Frida Kahlo é uma pesquisa de ordem literária e filosófica, que tem como objetivo encontrar um corpo de mulher através da análise de parte da produção literária de Clarice Lispector e plástica de Frida Kahlo, experimentada também pela pesquisadora no exercício desta escrita acadêmica. Com o método comparativo, esta dissertação propõe apresentar zonas fronteiriças entre a plasticidade e a textualidade, tanto da palavra, quanto da imagem. Tendo como ponto de interseção o corpo, há uma escritora que pinta e uma pintora que escreve: neste duplo deslocamento, vislumbram-se cruzamentos das quais insurgem corporalidades cuja constância é estar em transformação. Nos processos criativos das duas artistas pesquisadas, são tênues os limiares entre vida e arte. Coloca-se em questão o conceito de representação, já há muito tempo em crise, e possibilita o uso do termo (re)criação. No livro Água Viva, de Clarice Lispector, uma personagem-pintora realiza uma metaescrita, discutindo as limitações e os alcances do próprio ato de escrever. Nos quadros de Frida Kahlo, é recorrente a presença de uma figura corpórea marcada por procedimentos cirúrgicos, fruto da condição enferma que acompanhou a artista por toda sua trajetória. Cada uma, a seu modo e a partir de seu próprio corpo vivente, produziu (re)criações que implicam, em suas obras de arte, o leitor e o fruidor, inclusive a pesquisadora. Diante desse panorama, destacam-se os imbricamentos entre a Literatura e a Pintura, assim como entre a Arte e a Filosofia. Este trânsito não só aponta, mas também gera corpos poético-conceituais. A cintilação destes encontros, pois, é o devir aqui estudado um corpo de mulher por vir / Images of a womans body: Clarice Lispector and Frida Kahlos art re-criation is a literary and philosophic research that aims to find a womans body through the analysis of part of Clarice Lispectors literature and Frida Kahlos plastic arts, also experimented by the researcher during this academic writing.Using the read-across approach, this thesis proposes to present the connection between plasticity and textuality, both the word and the image. Taking as a point of intersection the body, there is a writer who paints and a painter who writes: in this exchange its possible to see a meeting point from where corporalities whose constancy is to be transforming emerge. There is a thin line between life and art in the creative processes of the two researched artists. The representation concept, not often used, is discussed, which makes possible the use of the word re-creation.In Clarice Lispectors book called Água Viva, a writer-characterwrites about the limits and scopes of her own writing act.It is common to find in Frida Kahlos paints a corporeal figure with surgical procedures scars due to her ailing condition that lasted her whole career. Each one in their own way and from their own living body produced re-creations that involve, in their artwork, the reader and spectator, including the researcher.According to what has been discussed we highlight the connections between literature and painting, as well as between art and philosophy. This relation not only points, but also creates poetic and conceptual bodies. These connectionsrefer to a series of transformations, studied here - a woman's body to come

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-13T11:26:39Z No. of bitstreams: 2 Dissertação - Ana Carla Carneiro Rio - 2015.pdf: 2228538 bytes, checksum: eeb3084cab474ea5444b7e8e1e36d215 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-13T11:28:17Z (GMT) No. of bitstreams: 2 Dissertação - Ana Carla Carneiro Rio - 2015.pdf: 2228538 bytes, checksum: eeb3084cab474ea5444b7e8e1e36d215 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-13T11:28:17Z (GMT). No. of bitstreams: 2 Dissertação - Ana Carla Carneiro Rio - 2015.pdf: 2228538 bytes, checksum: eeb3084cab474ea5444b7e8e1e36d215 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-05-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to identify the "between-spots" of the subject from the title “Ursula” by Maria Firmina dos Reis, a romance from nineteenth century in Maranhão, located in the romantic temporality. This book, published in 1859, in the province of São Luis, Maranhão’s capital, has as a main theme some aspects of slavery and the inferiority conditions faced by women in colonial Maranhão in nineteenth-century society and the unprecedented presence of women as writers in the above-mentioned context. This scenario gives us the dimension of the analysis from some discursive formations of the characters and the knowledge about the author’s positions, identified by the pseudonym "Uma Maranhense" which constitutes the main subject of this dissertation. For the matter of the development of this research, we opted for the theoretical postulates of Discourse’s analysis (DA) by the French line of work, which seeks to stablish a closer dialogue with Michel Foucault, from where we will discuss details of the relation between history and literature by Foucault, in order to see how these concepts can be integrated into the DA’s field. Throughout the work, we heed to Foucault's concepts of author, history, subject and power. Added to the Foucault’s postulates, the concept of "become", designed by Gilles Deleuze, who had helped us to understand the romance as a "between-spot", which indicates both the membership of the author to literary discursive practices of the century XIX and the breakdown of some established models. Primarily, this research deals with the DA’s disciplinary fields , embraces the context of Maranhão’s nineteenth-century society related to literature and customs of society and discusses the theories that will support the analysis. Finally, it develop some analysis about novel’s sequence enunciations, which deals with the issue of female authors writing in the nineteenth century and the subaltern condition of women and blacks in Maranhão’s society. In this sense, the analysis, from the "between-spots" inside the novel’s speech , we analyze the movement that indicates a dialogue between the authorial project mentioned in the prologue with the characters and narrator’s words, from the discursive formations around the slavery, female submission and patriarchy. With the Foucault’s help, we understand that discourses are always related to society and history; For this reason, the analysis of the discursive events in “Ursula” led us to question why this work would be out of the canon and understand how the discursive practices of the nineteenth century tried to ban works by female authors and abolitionist themes. / Esta pesquisa objetiva identificar os “entre-lugares” do sujeito a partir da narrativa Úrsula, de Maria Firmina dos Reis, romance maranhense do século XIX, localizado na temporalidade romântica. Esse livro, publicado em 1859, na ainda província de São Luís, capital do Maranhão, apresenta como eixo temático aspectos ligados à escravidão e à condição de inferioridade enfrentada por mulheres na sociedade colonial e oitocentista maranhense, bem como a presença inédita da escrita de autoria feminina no contexto supracitado. Esse cenário nos dá a dimensão de análise a partir das formações discursivas das personagens e das posições sujeito da autora, identificado pelo pseudônimo “Uma Maranhense”, que juntos constituem o objeto de estudo desta dissertação. Para o desenvolvimento da pesquisa, optamos pelos postulados teóricos da Análise do Discurso (AD) de linha francesa, que busca em Michel Foucault um diálogo mais próximo, a partir do qual discutiremos elementos sobre a relação entre história e literatura a partir de Foucault, com o intuito de observar como esses conceitos podem ser integrados no campo da AD. Ao longo do trabalho, atentamo-nos aos conceitos foucaultianos de autor, história, sujeito e poder. Soma-se aos postulados foucaultianos, o conceito de “Devir”, concebido por Gilles Deleuze, que nos ajudou a entender o projeto autoral do romance como um “entre-lugar”, que indica tanto a adesão da autora às praticas discursivas literárias do século XIX quanta a ruptura aos modelos impostos. A pesquisa primeiramente versa sobre o campo disciplinar da AD, percorre o contexto da sociedade oitocentista maranhense no que diz respeito à produção literária e os costumes da sociedade e problematiza as teorias que darão sustentação a análise. Finalmente, desenvolve a análise de sequencias enunciativas do romance, que versam sobre a questão da escrita de autoria feminina no século XIX e das condições subalternas de mulheres e negros na sociedade maranhense. Nesse sentido, na análise, a partir dos “entre-lugares” do discurso no romance, analisamos os movimentos que indicam um diálogo entre o projeto autoral indicado no prólogo com os dizeres das personagens e narradora, a partir das formações discursivas em torno da escravidão, submissão feminina e patriarcalismo. Com a ajuda de Foucault, entendemos que os discursos sempre se relacionam com a sociedade e com a história; por esse motivo, a análise dos acontecimentos discursivos em Úrsula nos levaram a problematizar o porquê dessa obra estar fora do cânone e entender como as práticas discursivas do século XIX tentavam interditar obras de autoria feminina e de temáticas abolicionistas.

Single player games with branching narratives are often marketed as having meaningful choices, where the outcome of players’ choices affect the story. But when these games fail to deliver on their promise it allows for frustration and disappointment. To aid in avoiding this phenomenon, this study explores the ways different types of choices affect the narrative agency in non-linear, story-driven games by looking closer at one of them - Detroit: Become Human. By means of formal analysis, a framework is developed for identifying various definitions and prerequisites of different choice types. This framework is applied to the chapter Stormy Night to evaluate and measure gameplay data regarding choices. In addition to this method, an interview with the Lead Game Designer is conducted which gives valuable insight into the actual process behind designing the choices in Detroit: Become Human. The results show that the chapter’s choices are explicit in their design. Furthermore, there is noticeable ambiguity and subjectivity in how choices can be portrayed and perceived as meaningful. The interview suggests that different types of choices are better used at certain parts of a narrative. Noticeable from the interview, but not as detectable in the gameplay data, is that having diversity in choice types promotes meaningfulness. Implications of these findings suggest that the requirements for a game’s choices to be meaningful are choice type diversity and careful placement.

La jeunesse est communément considérée comme une période de transition d’une situation de dépendance familiale à une situation d’autonomie et qui se réalise selon différentes étapes de décohabitation familiale, d’indépendance financière par l’emploi et par la création de sa propre cellule familiale.Cette thèse a l’ambition de décrire des passages à l’âge adulte de jeunes souffrant de troubles psychiques. Dans un contexte où les parcours individuels sont de plus en plus marqués par une exigence d’autonomie, ce temps particulier du parcours de vie est un moment critique où les tensions liées aux relations de dépendance propres à l’enfance d’un côté et au travail de gestion collective de la maladie de l’autre se heurtent aux difficultés d’avoir accès à l’activité salariale et à l’indépendance financière. Avec une approche qualitative et longitudinale, l’objectif de cette recherche est de comprendre la construction collective de ce passage dans une situation de troubles et/ou de handicap psychique à travers ses enjeux individuels (empowerment, expérience et gestion des troubles, participation sociale et accès aux ressources, définition d’un projet), relationnels (travail collectif de gestion de la trajectoire de la maladie, travail de care, travail d’accompagnement) et institutionnels (définition du handicap psychique, dispositifs d’accompagnement, autonomie comme règle institutionnelle, place des usagers/patients dans les différents services psychiatriques, sanitaires, médico-sociaux, judiciaires ou sociaux). / Youth is commonly considered as a period of transition, from a situation of dependence upon one’s family to a situation of autonomy. This takes place according to several steps: leaving the family’s nest, acquiring financial independence through employment and creating one’s own familial unit.This thesis aims at describing the passages according to which young people with mental disorders move onto adulthood. On top of the individual and collective ordeal that is becoming an adult exists another difficulty, which is no less shared: dealing with mental disorders. In a context in which the demand for autonomy and self-fulfilment increasingly influences individual paths, the passage to adulthood is a critical step. On the one hand are the tensions resulting from relations of dependence that are inherent to childhood, and on the other hand is the collective effort to manage the disability. These run up against the challenges of the access to a compensated activity and, thus, financial independence.The objective of this research is to understand the collective construction of this passage in a situation of mental disorder or disability while taking into account what is at stake at different levels. First the individual level: empowerment, experiencing and dealing with the disorders, getting involved in society and accessing facilities, defining a project. Then the relational level: collective management of the disease’s evolution, care and support. Finally the institutional level: defining mental disorders, support facilities, autonomy established as an institutional rule, the patients’/ users’ status in the psychiatric, sanitarian, medico-social, judicial and social facilities.

Le phénomène de la création dans le cadre d’un discours sur la création – la production littéraire et artistique – ne va pas de soi. La tâche de le circonscrire comme un objet est antinomique : l’expérience du discours est en soi une création. Alors que le langage écrit semble au plus souvent «supprimer» l’auteur, le processus de création implique un «Je» créateur qui pense, qui se transforme, qui vit et dont la pensée s’imbrique à son objet qui, quant à lui, est «supprimé»; car il n’est pas extérieur à la pensée mais en relation avec elle. Ce travail, qui démontre le rapport complexe entre l’objet, la critique, le sujet et le commentaire, se penche donc sur l’«avant», le «pendant» et l’«après» de la création, dans un acte de mémoire, qui découle d’une performance littéraire sur la création. Des forces motrices informes et inconscientes, à la mise en forme jusqu’à la transmission, qui lui redonne un caractère d’informe, la création est en mouvement, comme le savoir est toujours prisonnier d’un «work in progress». Tributaire d’Antonin Artaud, le texte s’inscrit à partir de l’artiste en guise d’archétype existentiel, et s’y réfère constamment pour témoigner de la création sans la détacher de la vie et de ses expériences. Pour accéder au mystère du processus de création, lié à la pensée subjective, inobjectivable et irréductible au discours linéaire, ce travail met l’accent sur les associations de la pensée qui procède, exprimées par un «Je» exemplaire omniprésent, tatoué par l’expérience, mais à la position ambiguë à titre d’auteur. Processus de vie, de pensée et de création sont non seulement entremêlés, mais traversés par le champ du tout autre, historique, mondial et social, en perpétuelle évolution. Le rôle du créateur n’est pas de ne créer qu’à partir des connaissances extérieures à lui, mais à partir de lui-même – de son moi multiple et de sa pensée imprégnée de lectures et de ce qui le traverse et l’habite dans un temps donné – pour aboutir à la mise en forme d’un texte cohérent, d’une gravure particulière de l’esprit en marche vers le savoir, qui se situe toujours dans le devenir. / The creation phenomenon within a discourse on creation – the literary and artistic production – is not self-evident. The task to define it as an object is antinomic; the experience of discourse is in itself creative. While written language seems often to “suppress” the author, the creation process actually implies a creative “self” who thinks, lives and transforms itself, and whose thoughts are overlapping into its object, which is thus “suppressed” because it is not outside of thought, but bound to it. This work, showing the complex relationship between object, criticism, subject and comment, is focussed on the “before”, “during” and “after” portions of the creative process, in an act of memory that stems from a literary performance about creation. From the shapeless and unconscious forces at its origin, to the its shaping, and then transmission, which gives it back its shapeless form feature, creation is in motion as knowledge is always captive of the work in progress. Tributary of Antonin Artaud, the text acts as an existentialist archetype of the artist and refers to him constantly to show creation without separating it from life and its experiences. To access the mystery of the creative process, linked to subjective, non-objectivable tought irreducible to linear discourse, this work focuses on the associations within the mind that proceeds, expressed through an ever present and exemplary “self”, tainted by experience, but in the ambiguous position of author. The processes of life, thought and creation are not only intertwined but infused by the “outside”, which is historical, global, social and in perpetual evolution. The creator's function is not to create based solely on his external knowledge, but from within himself – from his multiple selves and his mind filled by what he reads, what goes through his mind and inhabits him at a given time – to eventually shape a coherent text, a specific engraving of the soul as it marches towards the knowledge always hiding in the becoming.

Author's name: Bc. Zuzana Biľová School: Charles University, Prague Ústav pro dějiny umění Celetná 20, 110 00 Praha 1 Program: Masters program Title: Institutional acceptance of concept art across Europe Consultant: PhDr. Márie Klimešová, Ph.D. Number of pages: 96 + appendix Number of attachments: 4 Year: 2011 Key words: conceptual art, Harald Szeemann, Documenta 5, When attitudes become form, conceptual art in former CSSR This thesis refers to the problems that arise from the definition of conceptual art and the sole development of this term. Through two main exhibitions that were in the beginning and in the end of the conceptual art, I am trying to look closer at the institutional acceptance of this movement in Europe. I have reconstructed a complex description of the preparation, evolution and the process of the so-called exhibition "When attitudes become form", that is seen as the first conceptual art display on the European continent. The exhibition was held in Bern in 1969 and it had served as a main concept for its curator, Harald Szeemann, for the organization of international exhibition called "Documenty 5" that confirmed the domination of conceptual art but marked the beginning of its ideological downturn. My work closely analyses this second project, however, it mostly deals with the...

Le phénomène de la création dans le cadre d’un discours sur la création – la production littéraire et artistique – ne va pas de soi. La tâche de le circonscrire comme un objet est antinomique : l’expérience du discours est en soi une création. Alors que le langage écrit semble au plus souvent «supprimer» l’auteur, le processus de création implique un «Je» créateur qui pense, qui se transforme, qui vit et dont la pensée s’imbrique à son objet qui, quant à lui, est «supprimé»; car il n’est pas extérieur à la pensée mais en relation avec elle. Ce travail, qui démontre le rapport complexe entre l’objet, la critique, le sujet et le commentaire, se penche donc sur l’«avant», le «pendant» et l’«après» de la création, dans un acte de mémoire, qui découle d’une performance littéraire sur la création. Des forces motrices informes et inconscientes, à la mise en forme jusqu’à la transmission, qui lui redonne un caractère d’informe, la création est en mouvement, comme le savoir est toujours prisonnier d’un «work in progress». Tributaire d’Antonin Artaud, le texte s’inscrit à partir de l’artiste en guise d’archétype existentiel, et s’y réfère constamment pour témoigner de la création sans la détacher de la vie et de ses expériences. Pour accéder au mystère du processus de création, lié à la pensée subjective, inobjectivable et irréductible au discours linéaire, ce travail met l’accent sur les associations de la pensée qui procède, exprimées par un «Je» exemplaire omniprésent, tatoué par l’expérience, mais à la position ambiguë à titre d’auteur. Processus de vie, de pensée et de création sont non seulement entremêlés, mais traversés par le champ du tout autre, historique, mondial et social, en perpétuelle évolution. Le rôle du créateur n’est pas de ne créer qu’à partir des connaissances extérieures à lui, mais à partir de lui-même – de son moi multiple et de sa pensée imprégnée de lectures et de ce qui le traverse et l’habite dans un temps donné – pour aboutir à la mise en forme d’un texte cohérent, d’une gravure particulière de l’esprit en marche vers le savoir, qui se situe toujours dans le devenir. / The creation phenomenon within a discourse on creation – the literary and artistic production – is not self-evident. The task to define it as an object is antinomic; the experience of discourse is in itself creative. While written language seems often to “suppress” the author, the creation process actually implies a creative “self” who thinks, lives and transforms itself, and whose thoughts are overlapping into its object, which is thus “suppressed” because it is not outside of thought, but bound to it. This work, showing the complex relationship between object, criticism, subject and comment, is focussed on the “before”, “during” and “after” portions of the creative process, in an act of memory that stems from a literary performance about creation. From the shapeless and unconscious forces at its origin, to the its shaping, and then transmission, which gives it back its shapeless form feature, creation is in motion as knowledge is always captive of the work in progress. Tributary of Antonin Artaud, the text acts as an existentialist archetype of the artist and refers to him constantly to show creation without separating it from life and its experiences. To access the mystery of the creative process, linked to subjective, non-objectivable tought irreducible to linear discourse, this work focuses on the associations within the mind that proceeds, expressed through an ever present and exemplary “self”, tainted by experience, but in the ambiguous position of author. The processes of life, thought and creation are not only intertwined but infused by the “outside”, which is historical, global, social and in perpetual evolution. The creator's function is not to create based solely on his external knowledge, but from within himself – from his multiple selves and his mind filled by what he reads, what goes through his mind and inhabits him at a given time – to eventually shape a coherent text, a specific engraving of the soul as it marches towards the knowledge always hiding in the becoming.