O processo de demolição tradicional tem experimentado várias mudanças, a emergência das preocupações ambientais leva hoje a procurar formas mais sustentáveis, como a aplicação de uma demolição que promova a desmontagem e a remoção seletiva dos materiais, através do planejamento antecipado e da aplicação contínua das regras de segurança, executando uma correta gestão do fluxo de resíduos por meio da sua reutilização. Este trabalho tem como principal objetivo desenvolver um conjunto de diretrizes que permitem aprimorar o planejamento das atividades de demolição de pequenas edificações térreas, por meio de uma análise normativa nacional e internacional sobre o processo de demolição, promovendo práticas mais sustentáveis a serem adotadas por pequenas empresas demolidoras. Neste sentido a pesquisa empírica foi realizada pela aplicação de três estudos de caso, desenvolvendo um diagnóstico do funcionamento das atividades das empresas que praticam a demolição seletiva em pequenas edificações, com a elaboração de entrevistas, acompanhamento das demolições e da revenda dos materiais. Assim sendo, foi possível verificar a existência de mercados para os materiais e componentes reaproveitados das obras de demolição, os materiais mais procurados são os tijolos maciços, as telhas de cerâmica e a madeira, como por exemplo a Peroba Rosa, foi possível também observar a escassa de segurança e a falta do uso dos equipamentos de proteção. Esta pesquisa contribuiu com o desenvolvimento de um conjunto de ações que maximizem a coordenação da execução das tarefas em obra, de modo a melhorar a segurança e o aproveitamento de materiais, diminuindo o custo da demolição através da revenda dos materiais obtidos, e minimizando a produção de resíduos sólidos. / The traditional demolition process has experienced several changes, and the emergence of environmental concerns leads today, to seek for more sustainable ways, such as applying a demolition that promotes the dismantling and the selective removal of materials, through early planning and the continuous application of safety rules, making it much more diverse materials obtained and performing a proper management of the waste stream through reuse. This work main objective has to develop a set of guidelines that allow to improve the planning of the demolition activities of small buildings, through a national and international normative analysis of the demolition process, promoting more sustainable practices to be adopted by small demolition companies. In this way, the empirical research was carried out by the application of three case studies, developing a diagnosis of the activities that companies practice, by using the selective demolition in small buildings, with the elaboration of interviews, monitoring the demolitions and the resale of the materials. As result, it was possible to verify the existence of markets for reused materials and components of the demolition works. The most wanted materials are solid bricks, ceramic tiles, and wood, such as Peroba Rosa. This research contributed to the development of a set of actions that maximize the coordination of the execution of the tasks at work, in order to improve the safety and the use of materials, reducing the cost of demolition through the resale of the obtained materials, and minimizing the production of solid waste.

Made available in DSpace on 2015-03-05T18:25:04Z (GMT). No. of bitstreams: 0 Previous issue date: 27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação discute a produção audiovisual através do objeto trailer. Busca reinventá-lo a partir da desconstrução do seu caráter hegemônico publicitário, considerando as potencialidades que o fazem uma máquina desejante que agencia novas experiências audiovisuais, as quais conjugadas num arquivo articulam marcas de autonomia da produção e da estética trailerífica. A metodologia expressa sustenta-se em dois conceitos chave: o de desconstrução, a partir de Derrida, e o de arquivo, de Michel Foucault. Ou seja, trata-se de descentralizar a publicidade no trailer, e observá-lo em manifestações e expressões minoritárias, para, então, conjugá-las em um arquivo onde o imbricamento das relações evidencia operações autônomas desta máquina comunicante. / This work discusses the audiovisual production through the object trailer. Seeks to reinvent it throughout the deconstruction of its hegemonic publicitary character, considering its potentialities that make it a desiring-machine that arranges new audiovisual experiences which combined in an archive articulate aesthetic and productive autonomy marks. The methodology constructed has its basis in two key concepts: deconstruction, by Derrida, and archive, by Michel Foucault. Therefore publicity is no longer central in the trailer, which minorities’ manifestations and expressions become focus of the observation, so they can be gathered in an archive where the relations show the autonomous operations of this communicative machine.

The Atlantic Canadian provinces (Newfoundland, New Brunswick, Prince Edward Island, and Nova Scotia) have long been associated with agricultural romanticism. Economically and culturally entrenched in a stereotype of quaintness (Anne of Green Gables is just one of many examples), the region continuously falls into a cycle of inferiority. In this thesis, I argue that queer theory can be infused into performance analysis to better situate local theatre practice as a site of mobilization. Using terms and concepts from queer geographers and other scholars, particularly those who address capitalism (Gibson-Graham, Massey), this research outlines a methodology of performance analysis that looks through a queer lens in order to destabilize normative assumptions about Atlantic Canada. Three contemporary performances are studied in detail: Christian Barry, Ben Caplan, and Hannah Moscovitch's Old Stock: A Refugee Love Story, Ryan Griffith's The Boat, and Xavier Gould’s digital personality “Jass-Sainte Bourque”. Combining Ric Knowles' "dramaturgy of the perverse" (The Theatre of Form 1999) with Sara Ahmed's "queer phenomenology" (Queer Phenomenology 2006) allows for a thorough queer analysis of these three performances. I argue that such an approach positions new Atlantic Canadian performances and dramaturgies as sites of aesthetic and semantic disorientation. Building on Jill Dolan's "utopian performatives" (Utopia in Performance 2005), wherein the audiences experience a collective "lifting above" of normative dramaturgical structures, my use of "queer phenomenology" fosters a plurality of unique perspectives. The process of complicating normalizing tendencies helps dismantle generalizing cultural stereotypes.

This paper explores the fundamental meanings of deconstruction in fashion design and has the aim to investigate deconstruction in feminine ideal. It also stresses other thoughts of deconstruction in terms of philosophy through Jacques Derrida, architecture and philosopher Peter Eisenman and how deconstruction can be applied to find parallels between its setting and the setting it is compared to. Since the 1960s, deconstruction is a term that has been interpreted within many fields and traversed across different media. Influential Japanese designers have used the term in their works, juxtapositioning them to traditional Western ideas to create clear contrasts between stereotypical and categorised perception and unconventional interpretations. During the 1980s, designers such as Rei Kawakubo and Yohji Yamamoto explored the term to subsequently create a great distress in the fashion field. Their designs were examples of archetypes evoked from the past and presented as newborn strangers or dismantled ghosts. These designers investigated the mechanical functions of each archetype as they sought to find the meaning of each garment to later reinterpret its traditional essence. Also, they questioned the relationship between body and garment, raising thoughts of whether or not the bearer of the garment was personified to the garments traditional significance. The deconstructed element chosen for investigation in this project consists of a personification of the silhouette of the 1870s dress. This personification is discussed in terms of social and moral standards and constrictions as well as the political function of the dress. The fact that you could deconstruct a 1870s dress is clearly a way to take a historical archetype from its traditional meaning and place it into a new context. Similar to Jacques Derrida, the works of deconstruction in fashion design discuss our assumptions of archetypes and whether or not these archetypes can ever lack of historical or individual meaning. The constant dialogue with the past is a catalyst to reinterpret standardisations in fashion design through questioning the conformity of archetypes. / Program: Modedesignutbildningen

The general motive of this work will be to try to develop an new way of using mathematics in a fashion design process.By using mathematics in order to make a way to calculate what will be a part of the collection and what it will look like. The background for this work is mathematics, deconstruction and the skinhead uniform consisting of a bomber jacket, shirt and denim jeans.The aim is to explore a mathematical formula as a design method for new expression in menswear.A mathematic formula which decides what garment, material and construction-method to use in an outfit. Using the formula to give me the parts/ingredients, a construction-method and fabric that I can use to make the outfit, after that I use my ingredients/parts to create new shapes out of the parts given to me by the formula. A strive for a more controlled and distanced relationship to your work is something that I tried to developed in my work by using a mathematical formula as a tool. There are potentials in using a mathematical formula in designing a collection. But also obstacles to pass in order to have a focused outcome. / Program: Modedesignutbildningen

Ao longo da dissertação, para dar forma e legitimidade à intuição e à experiência emocional e intelectiva que a autora teve com a obra do psicanalista brasileiro Gilberto Safra, foi empreendido o esforço de fabricar uma interpretação que acontecesse como reposta a esta obra. Para tanto, propusemos uma leitura pormenorizada (o que inclui a leitura sistemática e a leitura próxima desconstrutiva) de dois livros de Safra: Momentos Mutativos em Psicanálise, sua tese de doutorado e A Face Estética do Self, sua tese de livre docência. Este recorte da obra se ancorou na hipótese de que haveria algo na construção do pensamento psicanalítico de Safra que se modificou consideravelmente entre estes dois momentos de sua trajetória pessoal, autoral e na sua formação como analista. Em resposta a estas questões, uma leitura entrelaçada das teses que compõem seu pensamento psicanalítico com suas condições de possibilidade nos levou a compreender que a escrita de Safra deixa entrever o tortuoso movimento de busca de um analista por sua morada conceitual, ética e estética. O que está em jogo é sempre o processo de singularização: do analista, do paciente e das possibilidades de se fazer teoria e clínica psicanalíticas nos tempos atuais / This dissertation, in order to shape and legitimize the authors intuition, and emotional and intellectual experience with the works of Brazilian psychoanalyst Gilberto Safra, strived to create an interpretation that could stand as answer to said works. As such, we proposed a detailed reading (which includes a systematic and then deconstructive reading) of two of Safras books: Mutative Moments in Psychoanalysis, his doctoral thesis, and The Aesthetic Face of the Self, his associate professorship thesis. This partial selection of his work is anchored on the hypothesis that there would be something in the construction of Safras psychoanalytical thinking which had been considerably altered between these two points in his personal and authorial trajectory, and his training as an analyst. In response to these questions, an interwoven reading of these theses which make up his psychoanalytical thought, with their conditions of possibility, led us to understand that Safras writing allows us to glimpse an analysts tortuous path in search of his conceptual, ethical and aesthetic references. Whats at stake is always the singularization process: of the analyst, the patient and the possibilities of creating psychoanalytical theory and doing psychoanalytical clinic work in current times

O tema da identidade promoveu muitas pesquisas sobre a obra de Machado de Assis. Tal tema está ancorado numa questão ontológica. Buscando evitar essa questão, a noção de devir nos permitiu uma mudança de perspectiva. A vontade de saber sobre a personagem Capitu, presente em muitos teóricos, pareceu-nos um sintoma do privilégio da ontologia em relação à reflexão sobre a alteridade. Pensamos que essa vontade de saber é uma forma específica para assimilar o outro. A narrativa de Casmurro pretende dar uma identidade a Capitu, contrapondo, de forma binária, uma verdadeira Capitu a outra dissimulada. Em função disso, constrói uma lógica causal comprometida com a preocupação ontológica. Impotente diante da alteridade do outro, a consciência do narrador se ressente. Acreditamos que ele escreve como meio de lidar com o ressentimento na sua experiência do passado. Essa escrita, que também lhe escapa como a alteridade do outro, pode proporcionar uma ruptura com a moral do ressentimento, projetando no porvir uma expectativa de modificação. Para tal, recorremos à teoria de Jacques Derrida a fim de demonstrar o devir da escrita no romance Dom Casmurro de Machado de Assis e seu poder transformador. / The theme of identity produced much research on the work of Machado de Assis. This theme is based on an ontological question. On the attempt to avoid this issue, the notion of becoming allowed a different perspective. The desire to know about the character Capitu, observed in many theorists, seemed a symptom of the privilege of ontology in relation to reflection on otherness. We think that this desire to know is a specific way to assimilate the other. The narrative of Casmurro aims to give an identity to Capitu, in contrast, in binary form, a real Capitu to an other dissembled. As a result, it builds a causal logic committed to the ontological concern. Powerless against the otherness of the other, the consciousness of the narrator resents. We believe that he writes as a means of dealing with the resentment in his own experience of past. This writing, which also eludes him as the otherness of the other, can provide a disruption with the moral of the resentment, projecting on the time to come an expectation of some change. With this objective, we use the theory of Jacques Derrida to demonstrate the becoming of the writing in the novel Don Casmurro from Machado de Assis - and its transformative power.

The failure of identity in The Confidence-Man has confounded readers since its publication. To some critics, Melville's titular character has seemed to leave his readers in a hopelessness without access to confidence, identity, trust, ethical relationality, and, finally, without anything to say. I argue, however, that Melville's text does not leave us without hope. My argument, consequently, is inextricably bound to a reading of Melville's text as deeply engaged with the concepts it inherits from Geoffrey Chaucer's The Canterbury Tales, an inheritance woefully under-examined by those critics who would leave Melville's text in the mire of hopelessness. In examining how these two texts bind themselves together while simultaneously cutting against each other, my reading finds in The Confidence-Man an alternative way of responsibly living, one that eschews the fatal task of shoring up either our confidence or our embarrassment in favor of an inauthentic redeployment of identity that laughs at both the embarrassment in our confidence and the confidence in our embarrassment.

Abstract not available

This thesis is centrally concerned with the texts of Jacques Derrida that have addressed directly the theme of sexual difference. Yet to say the thesis is centrally concerned with a philosophy that positions itself clearly as one that deconstructs centrality and its trajectory of return, is to face the crisis or chiasmus of my concern. The thesis is not returned to Derrida. If the question of feminism for Derrida is a question from the margins, from interruptions, of the trace and of la cendre, ashes, the question of sexual difference is primordially and originarily that of the undecidability of the name, signatory, and textual border. She would not have appeared here. Therefore she cannot return. There are two frames to this research that can be recognized in the chapter sequence of the thesis. Initially I develop a preparatory engagement to a questioning of the ontology of sexual difference, with Chapters 2 and 3, with a questioning that broaches the metaphysics of the feminine with respect to the texts of Derrida, Heidegger and Cixous in particular and further engages with Écriture Féminine, Levinas and feminist responses to Heidegger and Levinas. However, this broader questioning is undertaken in order to develop a sharper focus on the writings of Derrida that address Heidegger’s ontological difference, Levinas’s ethics before being, and a more originary questioning of sexual difference. The second frame and predominant focus of the thesis is on Derrida’s approach to the metaphysics of the feminine with four pivotal texts by Derrida from the late 1970s and early 1980s examined in Chapters 4 to 7. Each addresses a questioning of difference and the metaphysical tradition, under difference’s many names: ontological difference, sexual difference, différance, and engages deconstruction’s encounters with Nietzsche & Heidegger (Spurs); the psychoanalysts Abraham & Torok (“Fors”); Levinas (“At This Very Moment in This Work Here I Am”) and Hegel (Glas). In bringing together these four texts, my aim is to emphasize the significance of a double deconstructive movement of transgression and restoration, as this research’s politico-ethical acts of writing and reading for an otherwise discourse on sexual difference. This otherwise discourse has always already been produced with phallogocentrism and remains critical for the inventing of thresholds across philosophy, literature and their others. The ashen Preface enkindles a paradigmatic figure as deconstructive trace of sexual difference in writing and reading practices. A Postscript questions the binding to institutional laws constitutive of disciplinary practice while the fiery trace in Derrida’s writing on Kafka’s law concludes on the ash-laden edges of Blanchot’s unavowable work.