A formação do artista denomina, neste trabalho, um espaço conceitual e um modo de referenciação particulares. Ela não diz respeito, portanto, em primeira instância, ao processo pelo qual alguém se torna artista, nem ao problema das escolas para artistas. Trata-se de um plano de desterritorialização entre o Ensino da Arte e as práticas artísticas, de uma maneira de se vincular a esses lugares para confrontá-los, por meio de principalmente dois conceitos: diferenciação e dessubjetivação. Ela é, desse modo, o que pergunta: A que arte se refere o Ensino da Arte? A que educação se referem as práticas artísticas? Da mesma maneira, interroga um território intermediário a esses dois registros: a mediação educacional da arte. Alguns shifters são propostos como ferramentas de avaliação e redisposição dos modos pelos quais cada um desses lugares pensa e opera relações entre arte e educação. Desse modo, o Ensino da Arte terá sido diferenciado pelo ensino em arte, a mediação educacional da arte pela mediação contemporânea da arte, as práticas artísticas pela arte educacional. Essas manobras são mobilizadas por planos específicos de referência e atualidade: o Saber da Arte, a norma do anônimo-comum, a potência da não-governabilidade; que testemunham a disposição do que se põe à espreita de paixões inapropriadas. Concebese a formação do artista como a clareira na qual se identificam, sem qualquer acomodação, as conjunções e as disjunções entre arte e educação. Tal é sua incidência estético-política. Em tese: tanto o argumento geralmente sustentado pelo Ensino da Arte de que arte se ensina, quanto o argumento geralmente sustentado pelas práticas artísticas de que arte não se ensina, são conceitualmente insuficientes, porque dessa forma ambos advogam em causa própria. / The education of the artist designates here a particular conceptual space and way of referencing. Thus it is not concerned, at first instance, with the process through which someone becomes an artist, neither with the issues related to the art schools. It is a deterritorialisation plane in between Art Education and artistic practices, a way of getting bound to these sites in order to confront them, by means of especially two concepts: differentiation and desubjectivation. It raises this way the following questions: What art does the Art Education refer to? What education does the artistic practices refer to? The same way it questions an intermediate territory in relation to these two sites; the educational mediation of art. Some shifters are proposed as tools that enable us to assess and reframe how each of these sites conceives and operates relations between art and education. So the Art Education will have been differentiated by the education within art, the educational mediation of art by the contemporary mediation of art, the artistic practices by the educational art. These manoeuvres are ignited by specif planes of reference and currentness: the Art Savoir, the norm of the commonanonymous, the strength of non-governability. They testify the tone of what stalks unappropriated passions. This is their aesthetic-political way of attacking. The education of the artist is then conceived as the clearing in which, without any accommodation, the conjunctions and disjunctions between art and education are made alike. As the thesis proposes, both the argument generally held by the Art Education that you can teach art and the argument generally held by the artistic practices that you cant teach art are conceptually insufficient, because this way both only plead for their own cause.

A formação do artista denomina, neste trabalho, um espaço conceitual e um modo de referenciação particulares. Ela não diz respeito, portanto, em primeira instância, ao processo pelo qual alguém se torna artista, nem ao problema das escolas para artistas. Trata-se de um plano de desterritorialização entre o Ensino da Arte e as práticas artísticas, de uma maneira de se vincular a esses lugares para confrontá-los, por meio de principalmente dois conceitos: diferenciação e dessubjetivação. Ela é, desse modo, o que pergunta: A que arte se refere o Ensino da Arte? A que educação se referem as práticas artísticas? Da mesma maneira, interroga um território intermediário a esses dois registros: a mediação educacional da arte. Alguns shifters são propostos como ferramentas de avaliação e redisposição dos modos pelos quais cada um desses lugares pensa e opera relações entre arte e educação. Desse modo, o Ensino da Arte terá sido diferenciado pelo ensino em arte, a mediação educacional da arte pela mediação contemporânea da arte, as práticas artísticas pela arte educacional. Essas manobras são mobilizadas por planos específicos de referência e atualidade: o Saber da Arte, a norma do anônimo-comum, a potência da não-governabilidade; que testemunham a disposição do que se põe à espreita de paixões inapropriadas. Concebese a formação do artista como a clareira na qual se identificam, sem qualquer acomodação, as conjunções e as disjunções entre arte e educação. Tal é sua incidência estético-política. Em tese: tanto o argumento geralmente sustentado pelo Ensino da Arte de que arte se ensina, quanto o argumento geralmente sustentado pelas práticas artísticas de que arte não se ensina, são conceitualmente insuficientes, porque dessa forma ambos advogam em causa própria. / The education of the artist designates here a particular conceptual space and way of referencing. Thus it is not concerned, at first instance, with the process through which someone becomes an artist, neither with the issues related to the art schools. It is a deterritorialisation plane in between Art Education and artistic practices, a way of getting bound to these sites in order to confront them, by means of especially two concepts: differentiation and desubjectivation. It raises this way the following questions: What art does the Art Education refer to? What education does the artistic practices refer to? The same way it questions an intermediate territory in relation to these two sites; the educational mediation of art. Some shifters are proposed as tools that enable us to assess and reframe how each of these sites conceives and operates relations between art and education. So the Art Education will have been differentiated by the education within art, the educational mediation of art by the contemporary mediation of art, the artistic practices by the educational art. These manoeuvres are ignited by specif planes of reference and currentness: the Art Savoir, the norm of the commonanonymous, the strength of non-governability. They testify the tone of what stalks unappropriated passions. This is their aesthetic-political way of attacking. The education of the artist is then conceived as the clearing in which, without any accommodation, the conjunctions and disjunctions between art and education are made alike. As the thesis proposes, both the argument generally held by the Art Education that you can teach art and the argument generally held by the artistic practices that you cant teach art are conceptually insufficient, because this way both only plead for their own cause.

Made available in DSpace on 2016-04-28T19:58:53Z (GMT). No. of bitstreams: 1 Clivia Ramiro.pdf: 12814918 bytes, checksum: c2c4ef27e78719dbc53884bf17197029 (MD5) Previous issue date: 2014-09-12 / The comics autobiography is a narrative form capable of providing significant views on the self-expression of the man identity and conflicts in the contemporaneousness. This dissertation objective is to study the dimensions assumed by the self of the autobiographic comics, having as corpus the Holocaust testimony in Europe on the 20th century first half, in Maus, by Art Spiegelman(2009); and the familiar disintegration linked to the Brazilian social inequalities nowadays, in Memória de elefante, by Caeto ( 2010). In a context of multiple times and spaces, plurilinguism, metanarrativity, ex-centricity and dilution of the self, the problem which emerges is how the selected graphic novels answer, in their singular syntax, on the contemporary complexity in the autobiographic structure. The hypothesis is that it is possible to apprehend, in autobiographic comics from two different cultures, a common yearning by a self that confront the oppression devices through subjectivation and desubjectivation authorial processes. This research theoretical basis was: Santaella (2012), Eisner (2001, 2005 and McCloud (2004, 2006) for the comics language reading; Lejeune (2008), Miraux (1996), Nigro, Busato e Amorim (2010) for autobiographic topics; Todorov (1982, 2010), Benjamin (1994, 2006) and, specially, Agamben (2007, 2008, 2010) for the contemporary narrative and the (de)subjectivation matters. According to the analysis, our conclusion is that is a fundamental compositional difference between the two autobiographies: the way the author configures his disappearance and dessubjectivates himself in Maus, in opposition to the identity strengthening and subjectivation, in Memória de elefante, as a reaction to the power devices in the urban centers. Although they have different time and space perspectives, the Spiegelman and Caeto autobiographies keep in common the indissolubility between social critics and traumatic personal experiences. They are composed by subjects that live, narrate and write the trajectories of selves who do not fit in themselves anymore, and face, through the comics narrative art, the devices which annihilate the contemporary subject / A autobiografia em quadrinhos é uma forma narrativa capaz de propiciar significativas visões sobre a autoexpressão da identidade e dos conflitos do homem na atualidade. Nesta dissertação, o objetivo é o estudo das dimensões assumidas pelo eu nos quadrinhos autobiográficos, tendo por corpus o testemunho do Holocausto na Europa da primeira metade do século XX, em Maus, de Art Spiegelman (2009); e a desintegração familiar aliada às desigualdades sociais no Brasil atual, em Memória de elefante, de Caeto (2010). Nesse contexto, em que se destacam a multiplicidade de tempos e espaços, o plurilinguismo, a metanarratividade, a ex-centridade e a diluição do eu, o problema que se coloca é o de investigar como as histórias em quadrinhos selecionadas respondem, na singularidade de sua sintaxe, à complexidade do contemporâneo por meio da construção autobiográfica. A hipótese é a de que é possível flagrar, nos quadrinhos autobiográficos de duas culturas diferentes, o anseio comum de um eu que enfrenta os dispositivos de opressão por meio de processos autorais de subjetivação e dessubjetivação. Os fundamentos teóricos da pesquisa foram: Santaella (2012), Eisner (2001, 2005) e McCloud (2004, 2006) para a leitura da linguagem dos quadrinhos; Lejeune (2008), Miraux (1996), Nigro, Busato e Amorim (2010) para a questão autobiográfica; Todorov (1982, 2010), Benjamin (1994, 2006) e Agamben (2007, 2008, 2010) para as questões de narrativa e (des)subjetivação do eu. A partir da análise, a conclusão é a de que há uma diferença essencial na composição das duas autobiografias, isto é, o modo como o autor engendra seu desaparecimento e se dessubjetiva em Maus, em oposição ao fortalecimento da identidade e da subjetivação, em Memória de elefante, como reação aos dispositivos de poder dos grandes centros urbanos. Embora tratem de perspectivas espaço-temporais diferentes entre si, as autobiografias de Spiegelmans e Caeto têm em comum a indissociabilidade entre a crítica social e suas traumáticas vivências individuais. São compostas por sujeitos que vivem, narram e escrevem a trajetória de eus que já não cabem mais em si e enfrentam, por meio da arte narrativa em quadrinhos, os dispositivos que aniquilam a identidade do sujeito contemporâneo

Cette thèse de doctorat propose, à partir d’une lecture psychanalytique, d’aborder le sentiment de culpabilité maternelle face au traumatisme de la naissance prématurée de l’enfant. Il s’agira, à partir de quatre études de cas, de questionner le sens, la fonction et les effets de ce sentiment sur l’enfant. La première hypothèse propose d’envisager ce sentiment dans sa dimension paradoxale de « lien malgré-tout », « à ce prix-là » c’est-à-dire offrant une possibilité de subjectivation, d’appropriation subjective du devenir mère et du lien à l’enfant, mais aussi présentant le risque de la désubjectivation pour la mère et l’enfant, la culpabilité devient alors persécutoire et ouvre la voie à la possibilité d’un lien « trop proche », en proie à l’incestualité. La seconde hypothèse envisage le risque d’un défaut de liaison, en lien avec le sentiment de culpabilité, des sentiments d’amour et de haine dans le lien à l’enfant, aboutissant à un échec de la structuration de l’ambivalence maternelle. Enfin, une troisième hypothèse questionne les effets de ce sentiment maternel de culpabilité sur l’enfant, en postulant l’idée d’une recherche par l’enfant d’un lien « coûte-que-coûte », aboutissant à une modalité masochiste dans le lien mère/enfant. / This doctoral thesis proposes, from a psychoanalytic reading, to analyse the feeling of maternal guilt following the traumatism of a child born premature. It will be based on four studied cases and it will question the meaning, function and effects of this feeling on the child. The first hypothesis proposes to consider this feeling in its paradoxical dimension: "link in spite of everything", "at that price", i.e. offering a possibility of subjectivation, of the mother’s subjective appropriation of becoming a mother and her bond to the child. It proposes also to present the risk of desubjectivation for the mother and the child, then, guilt becomes persecutory and paves the way to the possibility of a “too close” bond, to be prey to incestuity. The second hypothesis contemplates the risk of a lack of bond on the same level, linked to the feeling of guilt, feelings of love and hatred in the bond to the child, leading to a failure in the structuring of the maternal ambivalence. Finally, a third hypothesis questions the effects of this feeling maternal of guilt on the child, giving the idea of a child's search for a bond “whatever it costs”, leading to a masochistic mother / child bond.

Par la nature double de sa réflexion, le présent mémoire propose d'interroger, au théâtre contemporain, la violence dans le langage comme modalité de négociation avec le réel. D'abord par une fiction au dispositif épuré et à la langue poétique, la pièce de théâtre Caille-moi, puis par un essai sur la pièce de théâtre Rouge gueule d'Étienne Lepage, nous désirons mettre en lumière un langage désubjectivé (Gilles Deleuze et Félix Guattari, Pierre Ouellet) au cœur duquel la présence de l'altérité remplace une certaine aliénation. Inscrivant notre démarche à la croisée des études littéraires et théâtrales, à la suite des travaux de Marion Chénetier-Alev sur l'oralité au théâtre, nous exposons à la fois la violence faite au dispositif théâtral et aux lecteurs-spectateurs dans l'espace du théâtre rendu possible par la violence du langage. Notre réflexion se pose également dans une visée plus large, interrogeant l'inscription du théâtre in-yer-face britannique (Sarah Kane) et de ses répercussions dans le théâtre québécois contemporain, en soulignant la connaissance de la dramaturgie québécoise dont fait preuve la pièce. En ce sens, le langage inventé par le jeune dramaturge offre le contrepoint à un certain cynisme contemporain et impose un langage riche et conscient de son histoire. / Through a twofold approach, the current M.A. thesis suggests an investigation of violent language in contemporary theatre as a means of coping with reality. By proposing first the play Caille-moi and its sober scenography and subsequently an essay on Étienne Lepage’s Rouge gueule, this thesis aim to draw attention to a desubjectified language (Gilles Deleuze and Félix Guattari, Pierre Ouellet) in which alterity replaces an undeniable alienation. At the cross road of Literature and Theatre Studies and following Marion Chénetier-Alev’s work on the oral nature of theatre, the present study wants to address violence as both a theatrical apparatus and as directed towards the readers-viewers in the space of the theatre by use of language. The reflection on the subject also expands to investigate the British In-yer-face Theatre (Sarah Kane) and its ramifications on Quebec’s contemporary theatre by demonstrating its broad knowledge as proven by the play. Consequently, the young playwright’s invented language offers a counterpoint to contemporary cynicism and imposes a rich language conscious of its history.

Par la nature double de sa réflexion, le présent mémoire propose d'interroger, au théâtre contemporain, la violence dans le langage comme modalité de négociation avec le réel. D'abord par une fiction au dispositif épuré et à la langue poétique, la pièce de théâtre Caille-moi, puis par un essai sur la pièce de théâtre Rouge gueule d'Étienne Lepage, nous désirons mettre en lumière un langage désubjectivé (Gilles Deleuze et Félix Guattari, Pierre Ouellet) au cœur duquel la présence de l'altérité remplace une certaine aliénation. Inscrivant notre démarche à la croisée des études littéraires et théâtrales, à la suite des travaux de Marion Chénetier-Alev sur l'oralité au théâtre, nous exposons à la fois la violence faite au dispositif théâtral et aux lecteurs-spectateurs dans l'espace du théâtre rendu possible par la violence du langage. Notre réflexion se pose également dans une visée plus large, interrogeant l'inscription du théâtre in-yer-face britannique (Sarah Kane) et de ses répercussions dans le théâtre québécois contemporain, en soulignant la connaissance de la dramaturgie québécoise dont fait preuve la pièce. En ce sens, le langage inventé par le jeune dramaturge offre le contrepoint à un certain cynisme contemporain et impose un langage riche et conscient de son histoire. / Through a twofold approach, the current M.A. thesis suggests an investigation of violent language in contemporary theatre as a means of coping with reality. By proposing first the play Caille-moi and its sober scenography and subsequently an essay on Étienne Lepage’s Rouge gueule, this thesis aim to draw attention to a desubjectified language (Gilles Deleuze and Félix Guattari, Pierre Ouellet) in which alterity replaces an undeniable alienation. At the cross road of Literature and Theatre Studies and following Marion Chénetier-Alev’s work on the oral nature of theatre, the present study wants to address violence as both a theatrical apparatus and as directed towards the readers-viewers in the space of the theatre by use of language. The reflection on the subject also expands to investigate the British In-yer-face Theatre (Sarah Kane) and its ramifications on Quebec’s contemporary theatre by demonstrating its broad knowledge as proven by the play. Consequently, the young playwright’s invented language offers a counterpoint to contemporary cynicism and imposes a rich language conscious of its history.