Made available in DSpace on 2016-04-28T20:37:42Z (GMT). No. of bitstreams: 1 Vilcelia Di Pietro.pdf: 402031 bytes, checksum: 3c0d8ecb42e0bad4f148078bbd8ba1d1 (MD5) Previous issue date: 2011-08-26 / This dissertation problematizes the notion of Masochism, opening it up to other meanings beyond its pathological enclosure. We affirm that Sacher-Masoch, as an artist, uses eroticism and sensuality in order to positively transgress a reality that does not satisfy him, thus producing other realities. He uses the contract, law, and humor in order to depersonalize his characters through the composition and shaping of different forms of subjectivity. Sacher-Masoch creates procedures, both in his life and work, whose power dilutes established forms. In order to illustrate the unfolding of Masochism as a creative field, we use Deleuze s theoretical perspective, Sacher- Masoch s biography, and his literary production. Deleuze performs a re-reading of Freudian Masochism and inflects it: he reevaluates the psychological dynamic, brings new understanding to assemblages of desire, and problematizes the complexity of subjective configurations / Essa dissertação problematiza a noção de masoquismo, abrindo-o a outros sentidos para além de sua clausura patológica. Afirmamos Sacher-Masoch como artista que usa o erotismo e sensualidade para transgredir positivamente uma realidade que não o satisfaz, produzindo outras realidades. Utiliza o contrato, a lei, o humor, despersonalizando seus personagens na composição e modelagem de diferentes formas de subjetividade. Sacher-Masoch cria procedimentos, tanto em sua vida como em suas obras, cuja potência dilui formas instituídas. Para ilustrar o desdobramento do masoquismo como campo criativo, utilizamos a perspectiva teórica de Deleuze, a biografia de Sacher-Masoch e sua produção literária. Deleuze faz uma releitura do masoquismo freudiano e o inflete: reavalia a dinâmica psíquica, traz novas compreensões para os agenciamentos de desejo, problematiza a complexidade das configurações subjetivas

The process of decomposition can be used as a method for disrupting the knowing subject, thus creating space for the awareness of unnoticed ideologies and beliefs. The body of work presented in this thesis intends to point towards, symbolically represent, and alchemically initiate a process of dissolution. It arises from an intention to negotiate psychospiritual suffering, by transmuting impulses of self destruction and violence into ceremonial and ritual processes. This work incorporates various methods into its scope, including video, performance, sculpture, painting, and gardening. / Master of Fine Arts / The process of decomposition can be used as a method for disrupting the knowing subject, thus creating space for the awareness of unnoticed ideologies and beliefs. The body of work presented in this thesis intends to point towards, symbolically represent, and alchemically initiate a process of dissolution. It arises from an intention to negotiate psychospiritual suffering, by transmuting impulses of self destruction and violence into ceremonial and ritual processes. This work incorporates various methods into its scope, including video, performance, sculpture, painting, and gardening.

As the title of this essay suggests, Paul Auster’s 2003 novel Oracle Night is studied with regard to what is here considered to be a search for a way out of estrangement. This search, as narrated from the point of view of the protagonist, is followed by a certain recognition of the limits of human existence – which may be essentially meaningless but is nevertheless portrayed as an intentional state of being, not least through the act of writing as a means of subjectification. Thus, the novel is read with a special focus on the thematic representation of writing and human subjectivity. These overarching themes may be approached with reference to two different philosophies or theoretical positions – postmodernism and existentialism. The purpose of the essay is to study the extent to which Oracle Night may be understood in terms of an existentialist (reconstructive) critique of, or challenge to, a postmodernist (deconstructive) perspective. In order to follow this line of inquiry, the analytic method rests on narrative thematics. This kind of narratological study answers the question what Auster’s novel is about and in what ways the theoretical perspectives in question are expressed in the novel. Thematic motifs are examined within the frame of a six-step model of narrative units. These units are based on Carsten Springer’s (2001) elaboration on the theme of identity crisis in Auster’s fiction and made it possible to put different motifs into a context and convey the point of view of the text in a systematic way.

Mémoire en recherche-création / Ce projet de recherche-création explore les avenues narratives d'une pensée de contrôle du corps par le sonore. Le travail de création réfléchira les mécanismes, les sentiments, les contraintes conscientes ou inconscientes de personnages face à l'environnement sonore urbain. Ces mécanismes, qu'ils soient intériorisés ou non par les personnages, permettront de penser le dispositif sonore, au sens de Foucault puis interprété par Agamben. Le dispositif crée, entre l'être sur lequel il agit et l'ensemble des dits et non-dits qu'il contient, un « processus de subjectivation », ou de « désubjectivation »: il se fait contrôle, s'organise en rapports de force. La partie création met en scène des personnages qui sont habités par des idéaux d'une libération du corps par la musique, que cette libération − ou son échec − soit spatiale, temporelle, sociale ou psychique. Ce travail se consacrera également à une analyse du recueil de Joséphine Bacon Un thé dans la toundra/ Nipishapui nete mushuat (2013) et du recueil L'Outre-vie (1979) de Marie Uguay. Ces autrices créent une dimension sonore et vocale évidente dans leurs poèmes, une sensibilité, voire une sursensibilité à l'ouïe − notamment par le teueikan (tambour) chez Bacon et par les « racines sonores » pour Uguay. Le son devient un vecteur qui permet de penser la subjectivité dans des possibles spatiaux et temporels simultanés que le corps paraît empêcher. R. Murray Schafer nomme « schizophonie » la séparation de la source d'émission du son par sa reproduction, par la multiplication des enregistrements. Ce rapport différé à la musique produite à distance du corps des musiciens − s'il s'agit de musique instrumentale − joue un rôle dans ce réseau de rapports de force, dans ce dispositif qui nous intéresse. Les sources sonores se sont aujourd'hui multipliées et apparaissent, par l'enregistrement, souvent déplacées et séparées de leur contexte de production original. Comment penser ces effets de décontextualisation? Le travail de création s'intéressera aux modalités et aux effets d'une voix énonciative travaillée par ces diverses représentations d'un corps qui entend, récepteur de réalités différées, d'une pensée du corps disséminé. Pour parler non pas seulement d'écoute, mais plutôt de ce que qui l'excède, de ce vers quoi tend l'écriture poétique: possibilité de l'écoute de l'autre, ou de l'écoute de ce qui est autre. / This research-creation M.A. thesis explores the narrative avenues of the impacts of sound and its effects to control the body. The creative writing work will show the mechanisms, feelings, and the conscious or unconscious constraints that are facing different characters with the urban soundscape. Those mechanisms, whether they are interiorized or not by the characters, will open a reflexion on the dispositif, as imagined by Foucault and later interpreted by Agamben. The dispositif (or apparatus) creates, between the subjectivity on which it acts and all of the contents it holds hidden or unhidden, a « process of subjectification » or « desubjectification »: it organizes, it creates a network of forces upon the subject. Bruit blanc, the creative writing work of this thesis, places characters that are hunted by ideals of a liberation of the body by music, whether this liberation − or its failure − is spatial, temporal, social or psychic. This work will also give space to an analysis of two poetry booklets: Un thé dans la toundra/ Nipishapui nete mushuat (2013) by Joséphine Bacon and L'Outre-vie (1979) by Marie Uguay. Those authors create upon reading a sonic and vocal dimension, a sensibility − even a hypersensibility − to hearing, especially through the teueikan in Bacon's poems and through racines sonores (« sound roots ») for Uguay. Their books present many esthetical and philosophical considerations on hearing as a physical and physiological phenomenon: sound becomes a vector throughout which we can imagine subjectivity in unsettling spatial and temporal possibilities that the body seems to forbid. R.Murray Schafer names « schizophonia » the splitting between what makes the sound and what transmits it which comes with the proliferation of recording technologies. This delayed connection to music that can be produced far from the bodies of musicians (when concerning instrumental music) plays a role in this network of forces, in this apparatus that keeps our interest. How can we think those effects of decontextualisation? Bruit blanc embodies the modalities and the effects of an enunciative voice that lives with different representations of a body hearing as a receptor of delayed realities, allowing to imagine the body in unquieting ways;to think about the possibility of listening to others, and to the listening of otherness.