Made available in DSpace on 2014-08-20T13:48:08Z (GMT). No. of bitstreams: 1 Favia Garcia Guidotti_Tese.pdf: 20887607 bytes, checksum: 6d637977df43ba4da864df98e6c289bd (MD5) Previous issue date: 2013-04-12 / In this thesis I propose a problematization concerning the interface between cinema and education. Unlike speeches and proposals which focus on the link between cinema and education through the introduction of movies as a didactic resource or as a mean capable of representing educational situations, during this research I worked on certain theoretical concepts with the purposes of supporting the idea that the cinema is a device which produces educability effects based on the condition with the image frame. In this perspective, I refer to a way of individual education which occurs through the experience acquired by watching movies. I reinforce my arguments on the cinema theory presented by Gilles Deleuze, mainly his ideas on image-time. Deleuze develops the idea that the cinema is an event which may make one think, leading to the unthinkable in thoughts, fostering the creation of concepts and the idea of problems which would be responsible for a new thinking image, or thinking without images, which starts from the difference. I defend that the educational power of cinema is rather a philosophical expression, a philosophy of difference, and it is found in its capacity to produce thinking. In order to do so, the concept of "cruelty" is a form of expression which goes beyond representation, and is present in the content of the film; these images affect us, bringing out new thoughts, with no representation, thoughts with no images. This thesis is a mapping, done with the cartographic method, which takes as empirical reference some contemporary movies to, based on the contribution of some authors, such as Gilles Deleuze, Antonin Artaud, Friederich Nietzsche, among others, try to identify cruel images which might enable creating the unthinkable in the thought. / Nesta tese proponho uma problematização a respeito da interface entre cinema e educação. Diferente dos discursos e das propostas que centralizam o vínculo entre cinema e educação a partir da incorporação de filmes como recurso didático ou como um meio capaz de representar situações educativas, durante esta pesquisa trabalhei determinados conceitos teóricos com o objetivo de sustentar a ideia de que o cinema é um dispositivo que produz efeitos de educabilidade a partir da afecção com a imagem em fluxo. Nessa perspectiva, refiro-me a uma forma de educação de si que ocorre através da experiência vivida em contato com os filmes. Sustento minha argumentação na teoria do cinema desenvolvida por Gilles Deleuze, principalmente suas ideias sobre a imagem-tempo. Deleuze desenvolve a ideia de que o cinema é um acontecimento capaz de fazer pensar, de gerar o impensável no pensamento, de suscitar a criação de conceitos e a constituição de problemas que seriam responsáveis por uma nova imagem do pensamento, ou do pensamento sem imagens, que comece pela diferença. Defendo que o potencial educativo do cinema é da ordem da expressão filosófica, de uma filosofia da diferença, e encontra-se na sua capacidade de produzir pensamentos. Para tanto o conceito de "crueldade" é uma forma de expressão que vai além da representação, e está presente na superfície do filme; essas imagens nos afectam, fazendo aflorar pensamentos novos, sem representação, pensamentos sem imagens. A tese foi realizada através do método cartográfico, assim, o mapa foi constituído tendo como referência empírica seis filmes contemporâneos para, a partir das contribuições de alguns autores, como Gilles Deleuze, Antonin Artaud, Friederich Nietzsche, entre outros, identificar imagens cruéis capazes de gerar o impensável no pensamento.

This diploma thesis entitled Legal protection of farm animals against cruelty aims to provide comprehensive overview of legal provisions for the protection of farm animals, authorities providing this protection and historical bases of the way humans interact with animals. The thesis has 7 chapters. The first chapter defines the key terms for this work, animals and farm animals. The second charter pursues the development of the human-animal relationship and philosophical, religious and other influences affecting this relationship. The third chapter gives an overview of the first legislation dealing with animal cruelty. We can find International treaties and European Union law on the protection of farm animals against cruelty in the fourth charter. Then the thesis focuses on the current Czech legislation, the individual areas of animal treatment regulated by law and in particular the Act no. 246/1992 Coll., On protection of animals against cruelty. The sixth chapter defines the scope of the individual animal protection authorities and finally it provils the overview of the possibilities of sanctions imposed on persons in order to protect farm animals.

Notre approche du théâtre panique d’Arrabal a été dirigée par la perception d’une esthétique paradoxale, d’une dimension éthique et cathartique au cœur d’une théâtralité qui restitue sur scène la confusion de la vie et l’humain dans sa totalité. Cette thèse s’interroge sur les moyens par lesquels Arrabal a créé l’univers panique ainsi que sur les piliers d’une esthétique a priori fondée sur la dérision et l’altération de la réalité, dans une perpétuelle oscillation entre l’outrancier et le fascinant. Il s’agit de comprendre le fonctionnement du dispositif de la cruauté, à la fois dramaturgique et dramatique, et comment se révèle cette tension dialectique entre abject et sublime, à travers une pensée qui se prétend insaisissable. Notre travail cherche donc à situer tout d’abord la naissance de la pensée panique, à questionner la dimension contestataire et subversive de l’œuvre d’Arrabal, et à en envisager les variations et les permanences. La forme brute et primitive de ce théâtre en fait un spectacle qui nous touche et provoque un choc émotionnel qui stimule la pensée. A travers l’exploration de la cruauté enfantine, de la manifestation du cauchemar, du bouleversement des valeurs, de la violence et du blasphème, nous verrons que l’espoir et la quête de soi éloignent ce théâtre du tragique pur et du nihilisme. La merveille de l’enfance, les songes, l’humour, l’érotisme apparaissent alors comme autant de moyens d’une révolte poétique qui permet de tenir tête à une réalité oppressante et d’affronter la condition humaine sans tomber dans le désespoir. Cette polarisation entre le haut et le bas, entre l’espoir et la chute, dans une ritualisation de l’espace scénique, fait du théâtre d’Arrabal un théâtre libertaire et fondamentalement humain, qui devient un moyen d’accéder à la connaissance de soi. / Our approach of Arrabal’s panic theater was led by the perception of a paradoxical aesthetic, an ethic and cathartic dimension at the heart of a theatricality bringing to the stage the confusion of life and human condition. This Ph.D thesis questions the means by which Arrabal created the panic paradigm and the foundations of an aesthetic first of all based on mockery and distortion of reality, perpetually oscillating between outrage and fascination. Our aim is to understand how cruelty is expressed, both dramatically and theatrically, and how the dialectical tension between abject and sublime is revealed through a vision often considered evasive. We first seek to understand when the panic concept was born, to question the subversive and protesting side of Arrabal’s work and to point out what changes and what remains the same through his productions. The crude and primitive nature of this theater makes it a performance that brings out an emotional shock and stimulates the audience’s mind. By exploring the themes of children’s cruelty, nightmare, abrupt change of values, violence and blasphemy, we will see that hope and the ontological quest keep this theater from pure tragic and nihilism. Childhood, dreams, humor, and eroticism appear as forces which feed a poetic revolt, to stand up against an oppressive reality and fight against human condition without falling into despair. This polarization between the high and the low, the hope and the fall, by a ritualization of the scenic area, makes Arrabal’s theater libertarian, fundamentally human, and therefore a means to know oneself.

While public opinion and previous research on the emergence of the first comprehensive animal welfare law in Sweden in 1944 has regarded it as a natural development of the animal welfare debates around the turn of the century, new research on the subject has problematized this view, instead pointing out the law of 1944 as a discursive break, in which the “animal welfare regime” emerged out of the previous “anti-cruelty regime”. This study focuses on the period of time after this break, from 1944 to 1973, examining this relatively unexplored part of Swedish animal welfare history by turning to the parliamentary debates of the time and looking at which practices were problematized and on which grounds, as well as how the line was drawn between acceptable animal use and unacceptable animal (ab)use. In doing so the study aims to explore the consequences of the aforementioned break in Swedish political discourse. The main argument of the study is that while the debates might seem to be about animal welfare, the main issue was in fact often not animals but humans, and differing conceptions of who was truly a “friend of the animals”, as opposed to a primitive, uncultured, brute. Human animal use as such was thus never questioned, instead the focus lay on specific practices such as recreational hunting and factory farming. In trying to draw a line between these practices, the members of parliament critical of the current state of affairs employed arguments which, inadvertently, could be interpreted as an attack on human animal use as such. In doing so, they activated the discursive mechanisms of control of the animal welfare regime, one of which the study identifies as a reversal of the logic of equivalence used by the reformist members of parliament before 1944.

The presented diploma work brings the theory of noise music with the main reason to clarify the pragmatics of its forming and effects. The base of the theory in construct ob the ideas of Antonin Artaud, their reflections and externalizations in the post-structuralist philosophical discourse and intermedial fine arts. Because of the topic, work also observes trends in artictic comunication trough the noise. The aim of work is to formulates the own theory of noise music trough the postulation of cruelty in the artistic speech with emphasis on the explanation of transgresive experience during the noise music performance. The results of the work contributes to the theory of appropriation trough the description of specific medium transmission in the immanent space.

Ce mémoire interroge la présence de la cruauté dans l’œuvre de Wajdi Mouawad, plus précisément Incendies et Anima. Dans Incendies, pièce de théâtre publiée en 2003, le lecteur se retrouve face à une quête de réponses impliquant des jumeaux, une mère décédée, et des décennies de violence guerrière. Dans Anima, roman publié en 2012, le lectorat est également face à une quête de réponses, mais, cette fois-ci, elle implique un homme ayant été adopté par son bourreau et ne se rappelant pas de son passé. Dans ces deux quêtes, une chose transparaît : la présence de la cruauté dans les vies de tous les protagonistes. Plus encore, dans les deux œuvres, les personnages sont amenés à voyager à divers endroits dans le monde. Ces deux œuvres représentent une violence sans limites d’un conflit sanglant. À travers la lecture, un élément particulier frappe le lecteur : l’omniprésence de la cruauté dans les évènements représentés. Cependant, ce n’est pas la cruauté directe que Mouawad met en scène, mais la vie de personnages qui seront touchés de près ou de loin par cette cruauté. Voilà pourquoi nous réfléchirons à la façon dont Mouawad fait apparaître la cruauté humaine dans ses œuvres. Dans un premier temps, nous nous pencherons au pouvoir, à la paranoïa, à la perversion et à l’emprise dans le but de montrer comment Mouawad fait ressortir l’aspect cruel de la tyrannie. Dans un deuxième temps, nous réfléchirons à la violence et à la cruauté pour démontrer l’impact que la cruauté a sur ses victimes. Dans un troisième temps, nous aborderons la haine et la propagande pour montrer comment Mouawad met en scène les différentes idéologies religieuses et les milices. Dans un dernier temps, nous nous questionnerons sur les blessures psychiques causées par cet amas de violence et de cruauté, tout en réfléchissant aux différents viols présents dans les deux œuvres à l’étude et son impact sur les victimes. Dans ces quatre chapitres, nous aurons démontré l’omniprésence de la cruauté dans le travail de Mouawad. / This thesis questions the presence of cruelty in the work of Wajdi Mouawad, more specifically in Incendies and Anima. In Incendies, a play published in 2003, the reader finds himself faced with a quest for answers involving twins, a dead mother, and many decades of war violence. In Anima, a novel published in 2012, the reader also finds himself faced with a quest for answers, but this time it involves a man who has been adopted by his executioner and does not remember his past. In these two quests, one thing shines through: the presence of cruelty in the lives of all the protagonists. Moreover, in both works, the protagonists will have to travel to various places in the world. These two works of Wajdi Mouawad represent the limitless violence of a bloody conflict. Throughout the reading of these books, one particular element strikes the reader: the pervasiveness of cruelty in the events depicted. However, it is not direct cruelty that Mouawad portrays, but the lives of characters who will be directly or indirectly affected by this cruelty. It is for this reason that we will reflect on how Mouawad brought out the cruel aspect of tyranny. In a second step, we will reflect on violence and cruelty to show the impact that cruelty has on its victims. Thirdly, we will approach hatred and propaganda to show how Mouawad staged the different religious ideologies and the militias. Finally, we will reflect on the psychic wounds caused by this mass display of violence and cruelty, while reflecting on the different rapes present in the two works under analysis and its impact on the victims. In these four chapters, we will have demonstrated the omnipresence of cruelty in Mouawad’s work.

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This thesis examines the development of vivisection as a method of physiological research between 1875 and 1901 in Great Britain, by examining some of the arguments, discussions, and ideas put forth by physiologists for the utilisation of vivisection in their research. Because this study operates within the context of medical history, questions of legitimacy, scientific development, and professional image are lifted. The development of vivisection during this period took place with a larger shift in scientific practice playing out in the background, where experimentalism began overtaking the previously more analytical approach to medicine and the sciences. The First Royal Commission on Vivisection in 1875 marks the beginning of this study, and the discussions within allow for a more nuanced picture of the professional debates on the practice, where both proponents and sceptics at times found common ground. Technological and societal aspects were central to much of the argumentation for the further development of vivisection, with technology easing the practical aspects of the method, and the concept of the "gentleman" allowing British "vivisectors" to argue against charges of cruelty, pointing rather to continental schools of physiology as the culprits, whilst lifting the "humanity" behind animal experimentation in Great Britain. In conjunction with pointing out the importance of the method for the development of medical science, the Cruelty to Animals Act and the lobbying on behalf of the professional journals British Medical Journal and The Lancet helped legitimise the practice in Great Britain. The Act allowed vivisection under set circumstances, and the two journals served as megaphones for scientific development on behalf of vivisection, at times even openly criticising sceptical opinions. At the same time, some saw experimental research through vivisection as merely one aspect of medical practice. One which needed to gain foothold in order to help advance medical science for the larger benefit of all humanity.

Diploma thesis - Legal regulation of protection of farm animals against cruelty This diploma thesis on Legal regulation of protection of farm animals against cruelty divides into five chapters (excluding the introduction and conclusion). The first chapter explains the relevant terminology. The second chapter concentrates on history of animal rights and philosophical aspects of these rights as well as on animals as subjects of law. The following chapters focus on applicable relevant legislation. The third chapter deals with international animal welfare agreements and relevant EU legislation. The fourth, most important, chapter summarizes the legislation on the protection of farm animals against maltreatment in the legal order of the Czech Republic. This chapter gradually focuses on both public and private law. Finally, the fifth chapter brings a comparison of the domestic legislation on the protection of farm animals against cruelty with the legislation of the Hellenic Republic.

[pt] O objetivo desta dissertação é investigar o processo criativo na literatura levando em consideração o posicionamento estético do escritor em relação às heranças deixadas pela literatura tradicional, enfocando o realismo do século XIX, e pela vanguarda, o surrealismo. O trabalho privilegia o romance de João Gilberto Noll, A fúria do corpo, assim como entrevistas e depoimentos do autor, a fim de mapear e discutir a sua proposta artística, enfocando em sua narrativa os elementos que rompem com a linha tradicional da literatura e colocam em xeque a própria linguagem estética literária. A tentativa é a de alcançar a noção do que seria uma linguagem despudorada, uma literatura sem pudor, por meio das perspectivas lançadas pelas colocações de Cortázar a respeito do escritor rebelde e o escritor tradicional em relação à literatura contemporânea, das propostas surrealistas, de Artaud, e da noção de Linguagem Invertebrada, de Reinaldo Laddaga. / [en] This research`s aim is an investigation of the literature creative process considering the writer`s aesthetics posture related to the heritage left by the traditional literature. Focusing mainly on the twentieth century realism, and the vanguard, specially, the surrealism. This work focalizes João Gilberto Noll`s novel, A Fúria do Corpo, as well as his interviews and opinions in order to map and discuss his artistic proposal concentrating on the elements of his narrative which break with the traditional literature line and test its own literary aesthetic language. It is an attempt to reach the notion of what would be an impudent language, a shameless literature, based on Julio Cortazar`s considerations concerning the rebel writer and the traditional one in relation to contemporary literature and also on Artaud`s surrealist proposals and Reinaldo Laddaga`s idea of an invertebrate language.