<p> "Dissociated Verses" is a collection of poems inviting its readers to step into a space of cleansed perception&mdash;a poetic field that enables the apparition of objects and phenomena as they are in themselves, as though they were uncontaminated by human subjectivity. Avoiding the traditional predicative use of the English language and favoring the use of paratactical linguistic constructions, the verses in this collection literally carve out the white space of the page to display luminous aesthetic moments. </p><p> "Intonation" is a complementary opus&mdash;an antidote to the solemnity and escape-from-emotion-ness of "Dissociated Verses." Although steeped in a similar apocalyptic vision of phenomenology, the poems in this collection clearly differ in form: they are pulled by a lyrical and symbolic drive. Winking at Blake and Baudelaire, they bring the dissociated reader back to human-ness&mdash;the symphony of joy and sadness.</p>

<p> This paper discusses the relationship of ideas to their media, through the relationship of contents to a book and through the use of aesthetic barriers. The conceptual content of the artworks produced center around epistemological self-betterment and practical mysticism. I discuss in this paper my thought process, the work itself, and the works intended functions. I discuss the idea of the book and my rationale behind working in printmaking.</p>

The usual method of designing a solution for a problem, which applies general principles to a specific situation, tends to overlook the unique features of each situation and so must inevitably efface the very structure of what it means to create, and so resolve diversity and plurality into blank uniformity. This is grave problem which a renewed attention to the individuality of things might help resolve. This project considers the criticism of several thinkers (including John Duns Scotus, Martin Heidegger, Theodor Adorno, and J.C. Jones) on the schema of general and particular that undergirds the engineering design method. It then seeks to open up further the suggestions these thinkers have for a new approach to the design method not enthralled to an understanding of general categories, but grounded in a contemplation of the individual.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 466-494). Online version available via Dissertation Abstracts.

This study seeks to confront the ontological crises of the subject. Through an examination of twentieth century texts (including fiction, autobiography and Freudian case studies), I demonstrate the effects of subjective compliance with disembodied discourses. Using psychoanalytic theory, I ask: What are the ethical limits of interpretation within the psychoanalysis and literary criticism? And what alternative strategies of intersubjective exchange could we employ that would aspire to avoid instances of such hermeneutic tyranny? / Further, what evidence is there that the subject, in the face of overwhelming discursive compliance, continues attempting to realize its ontological status? My hypothesis is that while theory (i.e. discourse) may prove beneficial to the subject, it should not endeavour to prevent the subject itself from Being. Taking subjective ontology, and not liberation or self-representation, as the primary goal of interpretation, I explore means by which we may provide "good enough facilitating environments" for the subject.

This thesis considers the ways that critical reflection on normalizations of social meaning and structures can provide sites for learning and transformation in a pluralist, divided, and destructive world. It investigates five recent "uncanny" works of art, in order to illustrate the value of critiquing closed frames of reference and attending to theories of hermeneutics, ideology critique, and aesthetics. The thesis explores the elements of postmodern consciousness which raise questions about self, identity, and agency in an era of fragmentation, difference, and challenges to master narratives. Using a dialogue between theory and text, history and fiction, it outlines part of an interpretive project, in which art provides one site for curriculum and public debate regarding a participatory and inclusionary society, thus contributing to a postmodern pedagogy of transformation.

No description available.

No description available.

Thesis (Ph.D.) - University of Queensland, 2003. / Includes bibliography.

Orientador : Zeljko Loparic / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T17:37:48Z (GMT). No. of bitstreams: 1 Piza_SuzedeOliveira_D.pdf: 2637096 bytes, checksum: ec9c73ebbc52574506ccd7cf9b022feb (MD5) Previous issue date: 2014 / Resumo: Esse texto se insere no debate contemporâneo sobre as aproximações entre Kant e Foucault. A relação entre essas duas Filosofias é, ao mesmo tempo, de ruptura e continuidade. Por um lado, o método arqueologia-genealogia levará a resultados que se opõem a muitas teses de Kant sobre o ser humano, o conhecimento e a história. Por outro lado, Foucault não abandona em nenhum momento as fôrmas kantianas de fazer Filosofia e seu método está mergulhado no modelo kantiano e na atitude crítica. Foucault nega o a priori formal, mas afirma um a priori histórico; nega o sujeito transcendental e, consequentemente o idealismo transcendental, mas afirma analogamente um transcendental histórico; inverte categorias kantianas fundamentais e produz algumas de suas principais teses acerca do sujeito moderno. Foucault inverte categorias kantianas, assim como ao longo da história da Filosofia, grandes pensadores subverteram seus mestres criativamente. Foucault assume a atitude crítica, adota o modelo da Filosofia transcendental, usando, portanto, as fôrmas de Kant, contudo, troca o seu conteúdo. Nossa tese caracteriza o que o próprio Michel Foucault indicou como sendo sua filiação kantiana; isto é, se este se inscreve de alguma forma na tradição filosófica, o é na tradição crítica de Kant. Procuramos examinar que tipo de filiação é essa em uma perspectiva de compreensão do como e com o quê essa Filosofia foi produzida. Trabalhamos durante todo o tempo com a hipótese de que o kantismo de Foucault é um exemplo digno de nota de uma relação criativa (e não subserviente) de um filósofo com sua tradição. A elaboração de nossa hipótese e a chegada aos resultados só foi possível podendo considerar toda a obra foucaultiana a partir de uma dada leitura da obra de Kant feita por Z. Loparic. A tese de Loparic é de que a Filosofia de Kant é uma semântica transcendental. À luz dessa interpretação de Kant - especialmente, de uma releitura das teorias do conceito e da verdade, em que aparece o conceito de domínio de interpretação - é que se tornou possível uma leitura adequada da extensão e do tipo de kantismo de Foucault, especialmente no que tange ao conceito de epistémê. A tese percorre o caminho que vai da leitura que Foucault faz de Kant, da maneira como Foucault usa Kant e da indicação do método e alguns de seus operadores conceituais, sempre em relação a Kant. Defendemos que ambas as Filosofias (kantiana e foucaultiana) são filosofias críticas e são semânticas transcendentais, carecendo a segunda, para ser mais bem definida, de um adjetivo: uma semântica transcendental histórica. Como pano de fundo das ideias aqui apresentadas está nosso tema de maior interesse: a produção de Filosofia e as possíveis relações do filósofo com a tradição de pensamento filosófico ocidental. Foucault com Kant é um exemplo elucidativo para se compreender tal produção e uma das maneiras de sua efetivação / Abstract: This text is applicable to the contemporary debate on the similarities between Kant and Foucault. The relationship between these two philosophies is one of both rupture and continuity. On one hand, the archaeological-genealogical approach produces results that contradict many of Kant¿s studies on the human being, knowledge and history. On the other hand, Foucault by no means abandons the Kantian models to produce Philosophy, and his method dives into the Kantian model and the critical attitude. Foucault denies the formal a priori, but affirms the historical a priori; in other words, he denies the transcendental subject and, as a consequence, the transcendental idealism, but analogically affirms a "transcendental-historical". He inverts Kantian ideas and produces some of his principal works on the modern subject. Foucault changes the Kantian categories, just as throughout the history of Philosophy, great thinkers creatively overturned their masters. Foucault is critical in his attitude, adopting the transcendental philosophy model. He does, however, use Kant¿s molds, although with altered content. Our thesis characterizes what Michel Foucault himself indicated as being his Kantian affiliation; namely, if in some way it applies to the philosophical tradition, it will apply to Kant¿s critical tradition. The objective here is to examine what type of affiliation this is, from a perspective of understanding how and with what this philosophy was produced. The hypothesis adopted in this study gives that Foucault¿s Kantianism is a noteworthy example of a creative relationship (and one that is not subservient) between a philosopher and his tradition. It was only possible to elaborate this hypothesis and reach the achieved results by considering the complete work of Foucaultian, by studying Z. Loparic¿s interpretation of Kant¿s work. According to Loparic¿s thesis, Kant¿s philosophy is a transcendental semantic. In light of Kant¿s interpretation ¿ particularly from the re-creation of the theories of concept and truth, in which appears the concept of the domain of interpretation - it was possible to thoroughly study the extension and type of Foucault¿s Kantianism, particularly in terms of the episteme concept. The thesis follows the theory that emerges from Foucault¿s interpretation of Kant, in the way that Foucault uses Kant, the indication of the method and some of its conceptual operators, always in relation to Kant. The present study defends the argument that both Philosophies (Kantian and Foucaultian) are critical and transcendental semantics; the second, in order to be better defined, requires an adjective: a transcendental-historical semantic. The backdrop to the ideas presented in this study is the subject of greatest interest: the production of philosophy and the possible relationships between the philosopher and the tradition of western philosophical thinking. Foucault together with Kant is a clear example that can be used to understand this production and one of the ways that it can be effective / Doutorado / Filosofia / Doutora em Filosofia