Thesis (DPhil (Philosophy))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This study commences with a critical, philosophical exploration of the ethical theories that constitute the normative basis of the dominant business ethics paradigm. It is argued that the universal and communitarian notions of the good upon which this paradigm is based, are inadequate in helping us deal with the complexities that define the modern day business environment. It is suggested that a sophisticated and affirmative account of postmodernism is a better suited alternative, as this paradigm is geared towards assisting us in finding workable solutions to our problems in the absence of universal truths or homogenous operating environments. Although postmodernism serves as a useful starting point for challenging the normative basis of business ethics, this study moves beyond this broad paradigm in providing an analysis of both complexity theory (specifically critical complexity theory), and Jacques Derrida’s deconstructive philosophy. The paradigm of critical complexity presents us with a useful framework for understanding, and thinking through the implications that complex phenomena hold for us, for our practices, and for our understanding of our responsibilities. Deconstruction (which serves as a philosophical example of a complex position) contributes to, and supplements this paradigm. Specifically, deconstruction draws attention to the processual nature of ethical decision-making and action, as well as to the ethical and political implications that arise from our limited knowledge of complex phenomena. Once critical complexity theory and deconstruction are adequately defined, a close reading of a critical text on the relevance of Derrida for understanding business ethics is presented. In undertaking the close reading, a number of criticisms against deconstruction are addressed, and an argument is made for why a more complex understanding of ethics is preferable to universal or communitarian notions of the good – and, therefore, preferable as a normative basis for business ethics. After making the case for a complex ethics, a general circumscription of a complex ethics is provided. This circumscription is premised on an understanding of ethics as a critical, provisional, transgressive, and imaginative enterprise. The specific implications that such a notion of ethics hold for teaching business ethics, and for understanding prominent business ethics themes (such as corporate social responsibility, responsible leadership, and sustainable development) are also elaborated upon. In conclusion, it is argued that taking cognisance of the insights and implications that arise from this study will help to support the future viability of business ethics. This is because a complex understanding of ethics can promote the development of robust and flexible strategies, which are needed for dealing with the realities of the modern business environment. / AFRIKAANSE OPSOMMING: Hierdie studie begin met ‘n kritiese, filosofiese ondersoek na die etiese teorieë wat die normatiewe basis van die dominante sake-etiek paradigma vorm. Daar word aangevoer dat die universele en kommunitaristiese idees van die goeie, waarop hierdie paradigma berus, onvoldoende is om ons in staat te stel om die kompleksiteite wat die hedendaagse sakeomgewing definieer sinvol te hanteer. Die voorstel word gemaak dat ’n gesofistikeerde en positiewe beskrywing van postmodernisme ’n meer gepaste alternatief is, omdat hierdie paradigma gerig is op werkbare oplossings vir ons probleme in die afwesigheid van universele waarhede of homogene werksomgewings. Alhoewel postmodernisme as ’n nuttige vertrekpunt dien om die normatiewe basis van sake-etiek te bevraagteken, beweeg hierdie studie verby die breë paradigma deur ’n analise van beide kompleksiteitsteorie (meer spesifiek kritiese kompleksiteitsteorie), en Jacques Derrida se dekonstruktiewe filosofie aan te bied. Die paradigma van kritiese kompleksiteitsteorie verskaf aan ons ‘n nuttige raamwerk om komplekse verskynsels te verstaan, en ook om deur die gevolge wat kompleksiteit vir ons praktyke en ons begrip van ons verantwoordelikhede te bedink. Dekonstruksie (wat dien as ’n filosofiese voorbeeld van ’n komplekse posisie) dra by tot, en vul hierdie paradigma aan. Meer spesifiek fokus dekonstruksie ons aandag op die prosessuele aard van etiese besluitneming en optrede, sowel as die etiese en politieke implikasies wat uit ons beperkte kennis van komplekse verskynsels voortspruit. Nadat kritiese kompleksiteitsteorie en dekonstruksie deeglik omskryf is, word ‘n kritiese teks oor die moontlike bydrae wat Derrida tot ons begrip van sake-etiek kan lewer noukeurig ontleed. Deur die loop van die ontleding word ’n aantal punte van kritiek teen dekonstruksie aangespreek, en ’n saak word uitgemaak dat ’n meer komplekse begrip van etiek verkieslik is bo universele en kommunitaristiese idees van die goeie – en dus meer geskik is as ’n normatiewe basis vir sakeetiek. ’n Algemene omskrywing van ’n komplekse etiek word ook verskaf om verdere steun te bied vir die verkieslikheid van so ’n opvatting van die etiek. Hierdie omskrywing is op die begrip van die etiek as ’n kritiese, provisionele, oorskryende, en verbeeldingsryke onderneming gebaseer. Die bepaalde implikasies wat hierdie idee vir onderrig in sake-etiek en ’n kennis van prominente sake-etiek temas (soos korporatiewe sosiale verantwoordelikheid, verantwoordelike leierskap, en volhoubare ontwikkeling) inhou, word aangespreek. In die gevolgtrekkig word daar geargumenteer dat kennisname van die insigte en implikasies wat uit hierdie studie voortspruit die toekomstige lewensvatbaarheid van sake-etiek kan bevorder. Dit is omdat ‘n komplekse begrip van die etiek die ontwikkeling van robuuste en buigsame strategieë, wat nodig is vir die hantering van die realiteite van die moderne sakeomgewing, kan aanspoor.

Il semblerait que la recherche d’un premier principe ne puisse ni aboutir une fois pour toutes ni être abandonnée. L’objectif est de montrer, d’une part, que cette tension travaille l’apophatisme de Plotin et la déconstruction de Derrida en y induisant des difficultés symétriques, et, d’autre part, que l’exploration de ces difficultés suggère une doctrine « intermédiaire » du premier principe intégrant la tension en question. Leurs philosophies reposent toutes deux sur une instance que son excès radical conduit à déborder l’être et l’originarité, mais le néoplatonicien et le déconstructeur interprètent ce débordement de façons diamétralement opposées. Le premier la comprend comme un aboutissement de la quête d’origine, tandis que le second y voit une invitation à dépasser cette quête. D’un côté, Plotin pense une arkhè que sa transcendance radicale rend difficile à déconstruire, mais qui devrait aussi interdire d’en garantir l’existence et la fonction. Sa volonté de maintenir cette garantie induit une série de perturbations, notamment autour du thème de la matière. D’un autre côté, la déconstruction du principe repose sur l’usage d’un schème principiel dénié. Pour le montrer, il faut élaborer une présentation générale de la pensée derridienne, qui révèle une tension culminant avec l’occultation de cet usage par un positionnement anti-principiel. Il s’agit de montrer que l’auto-dépassement de l’arkhè ne représente ni une garantie ni une abolition, qu’il peut être intégré dans une conception originale fondée sur certains éléments propres à chacun de nos auteurs, et qui articule un premier principe métaphysique à une ontologie et à une éthique. / It would seem that the search for a first metaphysical principle cannot either succeed once for all or be abandoned. The objective is to show, on one hand, that this tension works Plotinus’ apophatism and Derrida’s deconstruction by causing in it symmetric difficulties, and, on the other hand, that the exploration of these difficulties suggests an "intermediate" doctrine of the first principle, integrating the tension. Their philosophies rest both on something that its radical excess drives beyond being and origin, but they give diametrically opposite interpretations of this situation.The Neoplatonist understands it as a success of the quest for the first principle, whereas the deconstructionist sees it as an invitation to give up this quest. On one side, Plotinus tries to think an arkhè which its radical transcendence makes difficult to deconstruct, but that should also forbid guaranteeing its existence and its function. His will to maintain this guarantee causes disturbances, in particular in his theory of matter. On the other hand, the deconstruction of the first principle requires the use of a transcendental schema, which is yet partially denied by Derrida. To show this, it is necessary to elaborate a general presentation of derridean thought, which reveals a tension, peaking with the attempt to conceal the use of foundational methods.Our aim is to show that the auto-exceeding of the arkhè is neither a guarantee nor an abolition, and that it can be integrated into an original conception based on certain elements from each of our authors, which associates a first metaphysical principle with an ontology and an ethics.

This dissertation considers the place in anthropology of ‘production’ generally, and ‘engineering’ specifically, by asking the simple question: How do people make things? Scholars of material culture have until recently focused on issues of consumption, especially the consumption of commodities (Miller), and considered production only in the abstract. Other theoretical approaches are therefore drawn upon to act as a framework for the thesis, including network theory (Law and Latour), and environmental relationism (Ingold). A methodology of ‘parallel fieldwork’ was developed (from Bourdieu), to situate myself as an experienced engineer carrying out anthropological fieldwork. Work in a ‘familiar’ environment (the Didcot Railway Centre, UK) was used to provoke thoughts about engineering in my primary fieldsite (the Kelabit highlands, Borneo). Data from the UK thus helped frame my analysis of Kelabit engineering, presented here in four parts. First, using the construction of two bridges as a case study, I suggest that a design can be seen as the revelation of a potential future, rather than a complete plan, as is suggested by design researchers such as Lawson and Norman. Then, by looking at changing traditions of house-building, I demonstrate the intimate relationship between materials and environment, even as the environment becomes more industrialised (Tsing), and consider this example in the light of debates about materiality (Miller; Ingold). Personal involvement in the conception and building of a new suspension bridge allowed me to investigate in some depth the act of construction. As a communal project, this incorporated aspects of individual skill, in the way that Ingold has described, but also the organization of people, tools and materials, akin to Law’s ‘heterogenous engineering’. This leads me to conclude that a theory of engineering might come from due consideration of both these approaches to relational thinking. Finally, I describe an abandoned longhouse and trace its deconstruction, suggesting that this is an example of creative destruction (Colloredo-Mansfeld), and re-materialization (Gregson). The dissipation of the material parts of the building shows that engineered objects should be seen as an ongoing process of material creation and disposal, and not a unified whole. In conclusion, my hope is that this dissertation contributes to ideas about the place and nature of material culture, and advocates a more prominent place for ‘production’ within anthropology.

This thesis examines the politics of foundations in modern political thought through a reading and immanent critique of Hobbes’s Leviathan. I argue that his thought exemplifies a specifically modern problem of foundations insofar as he must establish political and scientific foundations on the basis of precisely the impossibility of foundation. Hobbes’s account of political founding and the establishment of scientific foundations is first and foremost a response to a condition of finitude in which foundations are no longer given or available but nevertheless demanded. While it appears that Hobbes describes the finitude of ‘Man’ and natural bodies and derives his political theory from these, in fact for Hobbes these no longer provide given foundations for political thought, but must themselves be posited in acts of political and epistemological projection. Hobbes’s politics of foundations therefore demands that we fabricate political and scientific foundations for ourselves and act as if they are not incalculable postulations but calculable necessities. I call this the problem of projection, in which political knowledge is possible only because we make it and posit it ourselves. Through a reading of the role of the metaphor of making in Hobbes’s account of political origins and sovereignty, I argue that this reading of Hobbes’s politics of origins as the institution of foundations in the face of the impossibility of foundation exposes finitude as a groundlessness to which there is no necessary political response. It does not necessarily demand the production of foundations through the institution of sovereignty. Hobbes’s Leviathan therefore provides a site in which we might begin to ask more precise empirical and theoretical questions about the transformative possibilities in the modern politics of foundations. / Graduate

Cette thèse examine le rapport complexe entre Habermas et Derrida en s'interrogeant sur l'évolution, durant les années 1980, d'une relation conflictuelle en un lien amical et collaboratif. Elle analyse leurs œuvres afin d'évaluer la convergence et la divergence entre leurs pensées. Nous avons essayé en premier lieu de dessiner les contours de la scène culturelle en Allemagne et en France à partir de l'année 1945. Cette approche nous a permis de mieux comprendre la philosophie de chacun d'eux et d'étudier la continuité et la discontinuité, la tension et l'échange philosophique, entre les philosophies allemandes et françaises. Même si notre thèse se divise en huit parties, elle s'étend sur deux champs d'investigation: l'un théorique et l'autre pratique. Concernant le champ théorique, cette thèse se penche sur la querelle franco-allemande relative au débat modernité/post-modernité, dans laquelle ils s'engagèrent et développèrent des critiques sévères l'un à l'égard à l'autre. La question de la modernité nous invite à mettre en question certaines idées générales, notamment celle selon laquelle Habermas serait un défenseur du projet de la modernité, tandis que Derrida serait un post-moderne hostile à la modernité et aux Lumières. Au sujet de leurs philosophies pratiques nous avons effectué une approche comparative de leurs idées sur la morale, l'éthique, la théorie du droit et la philosophie politique. Cette comparaison nous a permis de comprendre les raisons pour lesquelles ils se sont réconciliés et se sont intervenus ensemble pour atteindre certains objectifs politiques, mais aussi juridiques: la réforme du droit international. / This work examines the complex relationship between Habermas and Derrida by shedding light on the shift from a less pleasant interaction in the 1980s to a rather friendly and collaborative affiliation later in an attempt to highlight comparable areas of interest as well as evaluate areas of convergence and divergence among the two great minds. Intuitively, a philosophical eye looks deep to examine to womb where thoughts are born. We lay out the scene in post WWII Germany and France, both fertile lands for such phenomena. This allows us to garner a sharper image of how the two philosophers evolved within their backgrounds and influenced one another. Two focal points, theory and practice, are covered in eight sections. We will address the Franco German quarrel of Modernity vs. Post Modernity revealing the critique so-called Modernist Habermas and supposed Post Modernist Derrida bathed one another with, and, there, we tackle the question of ideology. The later point, practice, reveals a deep assessment of the two philosophers' stances on morality, ethics, philosophy of law, and politics. We conclude with an analysis of the two's collaboration, as they share comparable fundamentals, and inspect the fruit of that effort, which achieved not only political reform but legal in the shape of a Reform of International Law.

Made available in DSpace on 2016-04-28T19:58:43Z (GMT). No. of bitstreams: 1 Cleber Luis Dungue.pdf: 2132666 bytes, checksum: b5f4670171869d1843a1c0328070e5cf (MD5) Previous issue date: 2011-11-28 / Secretaria da Educação do Estado de São Paulo / The present research tries to question if a story that has been told so many times Santos-Dumont, a national hero, the airplane inventor and father of aviation can still bring something new, singular, able to break the expectancy of the reader. The life and history of Santos-Dumont have already been the theme of hundreds of biographies, many of them written using a traditional model that tries to develop, enhance and perpetuate the heroic image of the aviator. This happens, mainly, because of the proximity of the aviator to the classical myths and of the use of particular laudatory words. The image of the hero is made up from this vision that is one-dimensional and infallible. Walk together, therefore, with the very shape of the speech that the states it, based on a monological truth, absolute, which is intended indisputable. Among so many biographies that try to rebuild the life of Santos-Dumont, and fail precisely at this point, there is one that stands out as a parodic-novel O Brasileiro Voador by Márcio Souza. Facing the impossibility to distinguish the factual from the invention, among the shifts terrains of biographies, this Amazonian author sorts out the elements from original documents about Santos-Dumont in a fictional context. Without giving away the data research, the text is built from the unfolding, moving and condensing the facts that really happened, and they are explored according to the existing, possibilities in the literary environment. When re-organizing the conventional biographies data using parody and fiction, the act of creation of Márcio Souza, alters, erasures and transforms the official history of Santos-Dumont. Thereby, both the myth and the structure of the traditional biographical speech itself are deconstructed by the Amazonian author, showing up the fictional line that holds every biography. Through this process, the parody is precisely the most efficient strategy to break up the sedimented tradition and extract from it, not the hero, but the man with his conflicts and contradictions / Este trabalho procura questionar se uma história contada tantas vezes Santos-Dumont, herói nacional, inventor do avião e ―pai da aviação‖ ainda pode trazer algo novo, singular, capaz de romper o horizonte de expectativa do leitor. A vida e a história de Santos-Dumont já foi tema de mais de uma centena de biografias, muitas delas ordenadas segundo um modelo tradicional que procura enformar, engrandecer e perpetuar a figura heroica do aviador. Isso se dá, principalmente, pela aproximação do aviador a mitos clássicos e pelo uso de determinados vocábulos encomiásticos. O herói que se configura a partir desse olhar é unidimensional e infalível. Caminha junto, portanto, com o próprio formato do discurso que o enuncia, baseado em uma verdade monológica, absoluta, que se pretende incontestável. Em meio a tantas biografias que tentam reconstruir a vida de Santos-Dumont, justamente no ponto em que elas fracassam, sobressai como contrapartida o romance paródico-biográfico O brasileiro voador, de Márcio Souza. Diante da impossibilidade de distinguir, dentro dos domínios movediços do relato biográfico, o factual do inventado, o autor amazonense redistribui os elementos de origem documental sobre Santos-Dumont dentro de um contexto fictício. Sem despojar-se da pesquisa de dados, o texto é construído a partir do desdobramento, deslocamento e condensação de fatos que realmente aconteceram, explorados segundo as possibilidades do espaço literário. Ao reorganizar dados das biografias convencionais por meio de uma enunciação paródico-ficcional, o ato de criação de Márcio Souza altera, rasura e transforma a história oficial sobre Santos-Dumont. Assim, tanto o mito quanto a estrutura do próprio discurso biográfico tradicional são desconstruídos pelo autor amazonense, evidenciando-se o traçado ficcional que sustenta toda biografia. Nesse processo, a paródia é justamente a estratégia mais eficaz para romper a tradição sedimentada e retirar dela não o herói, mas o homem com seus conflitos e contradições

Made available in DSpace on 2016-08-10T11:07:30Z (GMT). No. of bitstreams: 1 SIMONE RAMES ABRAHAO BASILIO DA COSTA.pdf: 680734 bytes, checksum: e6ea33c4837819850ebcfb09eef61707 (MD5) Previous issue date: 2009-10-10 / This research had as main objective to analyze children's literature in the Mannerist aesthetic approach, involving the Mannerist s theme and discursive categories as artificiality, puzzles, metamorphosis, monstrous, mythical, analog metaphors, hieroglyphics, fantastic, wonderful, and others. The works chosen are between the seventeenth to the twenty-first century. They were part of the corpus for the analysis of the tales of Brothers Grimm: Little Brother and Little Sister, The Adventures of Pinocchio of Collodi and the most modern, of Maria de Fátima de Oliveira Lima, The Castle of Snow White. The goal was reached, beyond the expected, because was found in all this epistemic route realized, that the Mannerist is, too, possible to be analyzed as a form of aesthetic expression of art, not only as a period style, as happens in most of literary critics studies, because in every period of each studied children's story, there were more than one category of Mannerism, predicted by the theoretical Gustav Rene Hocke, the theoretical basis of this research. The studies of A. Schaff, second Izidoro Blikstein were used as a methodology, starting from the graph that was constructed in an attempt to discover how occurs the extra-linguistic referent in a work, titled The Making of Reality. The whole process of the critic analyze was supported by the deconstruction of this graph that provided a better understanding of the junction of Mannerism to the child literature, especially in Pinocchio, from the linguistic reference, which is the text itself. In other fairy tales was used the praxis that involves the perception of each reader at the moment of reception of each text, as explained in Chapter Three of this work, in the exposure and understanding of the second graph, the model proposed by the researcher, always deconstructing the traditional structural form, entitled The deconstruction of classical analysis. / Esta pesquisa teve como principal objetivo analisar obras de Literatura Infantil sob abordagem da estética maneirista, no que envolvia as categorias temáticas e discursivas do Maneirismo como artificialismo, enigmas, metamorfose, monstruoso, mítico, metáforas alógicas, hieróglifos, fantástico, maravilhoso, e outros. As obras escolhidas estão compreendidas entre os séculos XVII ao XXI. Fizeram parte do corpus para as análises os contos dos irmãos Grimm Irmãozinho e Irmãzinha O gamozinho encantado; de Collodi As aventuras de Pinóquio e o mais moderno, de Maria de Fátima de Oliveira Lima, O Castelo de Branca de Neve. O objetivo foi alcançado, indo além do esperado, pois se detectou em todo este percurso epistêmico realizado que o Maneirismo é, também, possível ser analisado como forma de expressão estética da arte, não somente como um estilo de época, como se dá na maioria dos estudos críticos literários, porque em toda época de cada conto infantil estudado, lá estavam mais de uma categoria do Maneirismo, postuladas pelo teórico Gustav Rène Hocke, base teórica desta pesquisa. Foram utilizados como metodologia, os estudos de A. Schaff, segundo Izidoro Blikstein, partindo do gráfico que se construiu numa tentativa de descobrir como se dá o referente extralingüístico numa obra, cujo título é A Fabricação da Realidade. O processo de toda análise crítica foi sustentado pela desconstrução deste gráfico que nos proporcionou uma melhor compreensão da junção do Maneirismo à Literatura Infantil, especialmente em Pinóquio, a partir do referencial linguístico, que é o próprio texto. Nos demais contos infantis recorremos à práxis que envolve a percepção de cada leitor, no momento da recepção de cada texto, como explica no Capítulo terceiro desta obra, na exposição e compreensão do segundo gráfico, modelo pela pesquisadora proposto, sempre desconstruindo a forma estrutural tradicional, cujo título é A desconstrução da análise clássica.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-02-07T17:10:08Z No. of bitstreams: 1 Izabel de Lourdes Quinta Mendes.pdf: 806665 bytes, checksum: dd233fc592178c224ee4ca53f72a3844 (MD5) / Made available in DSpace on 2018-02-07T17:10:08Z (GMT). No. of bitstreams: 1 Izabel de Lourdes Quinta Mendes.pdf: 806665 bytes, checksum: dd233fc592178c224ee4ca53f72a3844 (MD5) Previous issue date: 2017-12-14 / This work of dissertation presents the deconstruction of borders in O outro pé da sereia (2006), of Mia Couto. The language denotes words that rename names and the own history of characters who live the tradition and/or revisit their roots in Mozambican land. The multiple meanings of the words allow us to affirm that life and death, space and time, and the symbols of nature such as water, fire, earth and air represent the breaking of boundaries. Protagonists seem to be alive and dead, the locus formerly and Vila Longe is the starting and finishing point of the journey which consists in the revelation of the interiority of man. The discourse reflects the zigzag constructed in the fragmented literary narrative between past (1560) and present (2002). The space-time dimension shows the imaginary that emerges in the culture, religiosity and history of Mozambique. The journey to liberation itself contains multiple travelers from various parts of the world. Thus, the memories resize the process of border movement. / Este trabalho de dissertação apresenta a desconstrução de fronteiras em O outro pé da sereia (2006), de Mia Couto. A linguagem denota palavras que ressignificam nomes e a própria história de personagens que vivem a tradição e/ou a revisitação de suas raízes na terra moçambicana. Os múltiplos sentidos dos vocábulos permitem afirmar que vida e morte, espaço e tempo, e os símbolos da natureza como água, fogo, terra e ar figurativizam o rompimento de fronteiras. Protagonistas parecem estar vivos e mortos, o lócus Antigamente e Vila Longe é ponto de partida e de chegada na viagem que consiste na revelação da interioridade do homem. O discurso reflete o ziguezague construído na narrativa literária fragmentada entre passado (1560) e presente (2002). A dimensão espaço-tempo mostra o imaginário que emerge na cultura, religiosidade e história de Moçambique. A viagem rumo à libertação de si contém múltiplos viajantes de várias partes do mundo. Assim, as memórias redimensionam o processo de deslocamento de fronteiras.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-10-01T17:42:08Z No. of bitstreams: 1 MÁRCIA MENDONÇA SOUSA.pdf: 1434316 bytes, checksum: a89be9c53c5a1aa0287ed89609ce0874 (MD5) / Made available in DSpace on 2018-10-01T17:42:09Z (GMT). No. of bitstreams: 1 MÁRCIA MENDONÇA SOUSA.pdf: 1434316 bytes, checksum: a89be9c53c5a1aa0287ed89609ce0874 (MD5) Previous issue date: 2018-06-25 / This study proposes a comparative analysis of Clarice Lispector's The Passion According to GH, whose crossing between the body and art reveals unfolding of being before the becoming, which, in order to exist and to be self-sufficient, must be escaped from silence and pronounce with authenticity, since whoever is silent is closer to anonymity and has no identity, property. Therefore, we seek to explore, in the narrative, the construction of the being that is inherent in the formation and manifestation of its expressiveness. Dumbness is the revelation of fragility, the distressing and disturbing fragmentation of bodies in interaction. Through language, bodies can interact, strangling, disintegrating, and rebuilding themselves in the face of the unusual. The muted language of G.H. manifests a non-existence, an anonymity that, in the face of becoming, becomes uneasy, reveals the pains of being and of defining oneself. In the face of everyday and banal events, literary art attributes a new configuration to the object and this new sudden illumination in the consciousness of the extras allows new insights into life, a kind of epiphany. In this crossing, this study seeks to analyze the crossing between the body and the art, promoting dialogues, which will dehumanize the image of the conventional human, disobjectifying the being and revealing its component side, actant and work of art, as the body language is captured through of the body experiment. The very existence is used as an artistic representation, as a thinking object, whose main function is to create symbols, since the image is not intended to make the meaning it has more comprehensible, but to make the object artistic because it represents a particular vision , a new perception about the object. The research adopts a current hermeneutical approach, phenomenological, existentialist and comparative, since it is understood that they are indispensable items to develop this study about the crossing between the body and the work of art, in order to show that the body-language is the authenticity of being in the literature by Clarice Lispector. / Este estudo propõe uma análise comparativa da obra A paixão segundo G.H., de Clarice Lispector, cuja travessia entre o corpo e a arte revelam desdobramentos do ser perante o devir, que, para existir e autoafimar-se, o ser deve fugir do silêncio e pronunciar-se com autenticidade, já que quem se cala está mais próximo do anonimato e não possui identidade, propriedade. Por isso, procuramos explorar, na narrativa, a construção do ser que está inerente à formação e à manifestação da sua expressividade. A mudez é a revelação da fragilidade, a fragmentação angustiante e inquietante dos corpos em interação. Através da linguagem, os corpos podem interagir, estranhando-se, descontruindo-se e reconstruindo-se perante o inusitado. A linguagem emudecida de G.H. manifesta uma não existência, um anonimato que, frente ao devir, inquietase, revela as dores de ser e de definir-se. Frente aos acontecidos cotidianos e banais, a arte literária atribui uma nova configuração ao objeto e essa nova iluminação súbita na consciência dos figurantes permite novos insights perante a vida, uma espécie de epifania. Nessa travessia, este estudo procura analisar a travessia entre o corpo e a arte, promovendo diálogos, que vão desautomatizando a imagem do humano convencional, desobjetificando o ser e revelando seu lado componente, actante e obra de arte, pois o corpo linguagem é captado através do corpo experimento. A própria existência é utilizada como representação artística, como objeto pensante, cuja função principal é a de criar símbolos, já que a imagem não tem o objetivo de tornar mais compreensível o significado que possui, mas de tornar artístico o objeto por representar uma visão particular, uma nova percepção sobre o objeto. A pesquisa adota uma abordagem hermenêutica atual, fenomenológica, existencialista e comparativa por entender que são itens indispensáveis para desenvolver este estudo sobre a travessia entre o corpo e a obra de arte, a fim de mostrar que o corpo-linguagem é a autenticidade do ser na literatura de Clarice Lispector.

More often than not, when we think about visual rhetoric, especially in the fields of composition and literature, we imagine such visual texts as video games, advertisements, and graffiti/art. It’s rare that our thoughts turn to tattoos and the idea that women’s tattoos in particular, as visual text, act as a rhetorical device subverting dominant social norms of how heteropatriarchy defines woman and femininity. The dominant notions of how we think about text – writing, rhetoric, and the publication of narrative – facilitates the construction of a tattoo rhetoric. Utilizing a feminist lens, this thesis demonstrates the visual rhetoric of women’s tattoos and the construction of a tattoo rhetoric, drawing from elements of queers of color, women of color, and visual rhetoric scholars, as well as such theorists as Judith Butler, Michel Foucault, Jacques Derrida, Roland Barthes, and Mikhail Bakhtin. I explore Shelly Jackson’s Skin and the embodied texts of Kat Von D’s tattoos to convey the disidentification from and deconstruction of traditional and dominant notions of writing, rhetoric, and narrative, as well as heteropatriarchal constructs and governance of women, women’s bodies, and femininity. The visual rhetoric of women’s tattoos empowers women to radically challenge mainstream perceptions of feminine beauty, reclaim agency over their own bodies, and construct new meaning of woman and embodied texts. Women’s tattooed bodies facilitate the deconstruction of dominant ideologies of woman, femininity, and of text; the reconstruction of how woman and visual text are defined; and the construction of a tattoo rhetoric.