A escrita desta dissertação foi agenciada privilegiando o encontro circunstancial entre campos teóricos distintos, na tentativa de articular a teoria e os conceitos à dimensão do acontecimento, da experiência. Para tanto, o trabalho apostou na aproximação ou na fusão entre arte e vida, em que proposições dadaístas e surrealistas foram contribuições significativas. As experiências da clínica, tratadas como ambientações, foram expostas em forma de narrativa, método que embasou esta pesquisa. Com inspiração em autores da psicanálise, da filosofia, das artes e da literatura, para este trabalho alguns autores tornaram-se pontos de apoio frequentes - Freud, Lacan, Guattari, Foucault, Benjamin e Lyotard, além de artistas e escritores. As questões propostas ou desenvolvidas nesta dissertação foram problematizadas a partir de uma perspectiva interdisciplinar, articulando conexões entre os ambientes clínicos e uma estética da existência. / The writing of this dissertation was based on the privilege of the circumstantial meeting among distinct theoretical fields in an attempt of articulation of theory and concepts, in view of the event and the experience. For this purpose, the task kept on the approach or the fusion between art and life in which the statements of dadaism and surrealism have made expressive contributions. The clinical experiences, considered settings, were exposed on narrative form that is the method on which this research was based. Inspired on authors from psychoanalysis, philosophy, arts, and literature, some of them have become constant supports for this research Freud, Lacan, Guattari, Foucault, Benjamin and Lyotard, besides artists and writers. The issues proposed or developed on this dissertation were problematized from an interdisciplinary perspective that surmises connections between the clinical environments and an aesthetics of existence.

Segundo Tomás de Aquino, a forma é o que instancia a substância em determinada natureza; sem ela, a substância não seria o que é. Saliente-se que definir o que é (quid est) algo não é o mesmo que afirmar que ele é, pois, neste caso, o que é afirmado é sua existência, não sua natureza. Isso indica que a existência não é posta pela forma da substância, mas por algo outro, que, em sua Exposição aos Ebdomadibus de Boécio, Tomás chama de ato de ser (actus essendi). Imiscuído na substância que é seu sujeito , o ato de ser concede-lhe existência, tornando-a um ente, o qual possui um vínculo com o próprio ser (ipsum esse), que é deus. O aquinatense chama esse vínculo de participação, donde o ente participa do ser tal como o efeito de sua causa. O problema é instaurado quando se passa do plano ontológico ao gnosiológico, isto é, quando o intelecto busca inteligir a participação do ente no ser. Nessa intelecção, a limitação do intelecto humano se evidencia: a participação do ente no ser é entendida não como tal, mas como a do concreto no abstrato. O ente é significado em concreto, pois nele o ato de ser se encontra concretizado; a dificuldade, contudo, apresenta-se quando o intelecto tenta abstrair o ato de ser do ente: nessa abstração, o ato de ser não é inteligido enquanto tal, mas enquanto abstrato. Diante disso, torna-se inevitável levantar as seguintes questões: qual o modo de abstração que tenta obter o ato de ser do ente? Por que o intelecto não é capaz de inteligir o ser enquanto ser, mas apenas enquanto abstrato? O ato de ser, inconcebível pelo intelecto humano, é de fato superior à forma substancial? A participação do concreto no abstrato corresponde à do ente no ser? São estas as principais questões que, neste estudo, buscaremos responder. / According to Thomas of Aquinas, form is that which instantiates substance in a determinate nature; without it, substance would not be what it is. It should be emphasized that defining what something is (its quid est) is not not the same as to assert that it is, for in this case what is asserted is its existence, not its nature. That indicates that existence is not given by the form of the substance, but by something else, which in his Exposition to the Boethius\'s Ebdomadibus, Thomas calls act of being (actus essendi). Mingling in the substance its subject , the act of being gives it its existence, turning it into an entity, which is vinculated to being itself (ipsum esse), or God. The Aquinate calls this nexus participation, whence the entity participates in being as the effect of its cause. The problem is set when one traverses the ontological level to the gnoseological, that is, when the intellect tries to grasp the participation of the entity in being. In this intellection, the limits of the human intellect become clear: the participation of entity in being is understood not as such, but as the concrete in relation to the abstract. The entity is signified in concrete, for in it the act of being is found concretized; the difficulty, however, reveals itself when the intellect tries to abstract the act of being from the entity: in this abstraction, the act of being is not grasped as such, but as abstract. Thus it becomes inevitable to formulate the following questions: which is the mode of abstraction which tries to obtain the act of being of the entity? Why is the intellect not able to grasp being as being, but only as abstract? Is the act of being, inconceivable to the human intellect, in fact superior to the substantial form? And does participation of the concrete in the abstract correspond to that of the entity in being? These are the main questions that this study aims to answer.

O presente estudo refere-se às presenças femininas na dança de rua, expressão que aparece como um dos elementos do movimento cultural hip hop. Atualmente, o hip hop tem se configurado como território predominantemente masculino nas suas manifestações, sendo atravessado por diferentes significados de corpos e gêneros, os quais se correlacionam com outras marcas culturais tornando complexas as relações humanas e, portanto, de poder, as quais funcionam de múltiplas formas na organização dos grupos sociais. Nesse panorama a atuação dos corpos femininos é pensada dentro de uma rede de relações sociais e de poder, disputando e produzindo significados, inventando suas próprias táticas de inserção, de modo plural e dinâmico. Poderes não tão localizáveis (FOUCAULT,2007c), mas que estão dispersos, circulam nas práticas sociais, produzem e constituem sujeitos. Dessa forma, estabeleço como objetivo desse estudo, mapear como são exercidas as diferentes presenças femininas nos grupos de dança de rua, Original Dancer e Piratas de Rua, ambos da cidade de Pelotas/RS. Para desenvolvimento da pesquisa foi utilizado como caminho metodológico a etnografia urbana a partir de Magnani (2002), associada a elementos do método cartográfico (ROLNIK, 2006). Para tanto, coloco em operação tais questões: como são inventadas táticas de inserção das mulheres na dança de rua? Como são exercidos pelas mulheres poderes-saberes que têm o corpo como arma? Como as mulheres constituem modos de subjetividade nesse contexto? Como emergem novos territórios para a produção de existências femininas? A presente pesquisa é conduzida pela inquietude de uma pesquisadora mulherer que deseja perceber como as mulheres têm se constituído eticamente enquanto presenças femininas nesses espaços de sociabilidades criados pela dança de rua. Ao longo dessa empreitada vou assumindo, incorporando e me apropriando de algumas pistas teóricas que penso importantes para dar visibilidade a essas mulheres de uma maneira positiva, produtiva, respeitando a pluralidade de suas existências. Sou assim, atravessada, movida entre encontros e desencontros no exercício de pensamento com as problematizações de Michel Foucault, especificamente quando ele nos fala de modos de subjetivação, da constituição ética e das micro-rupturas com aquilo que está na fronteira entre a sujeição e as práticas de liberdade do sujeito que estiliza a sua existência. / This study refers to the presence of women in street dance, an expression that appears as one of the cultural movement of hip hop. Currently, hip hop has been marked as a male-dominated territory in its manifestations, is traversed by different meanings of bodies and genders, which correlate with other brands making cultural complex human relationships and therefore of power, which operate multiple forms in the organization of social groups. In this scenario, the role of the female body is conceived within a network of social relations and power, playing and producing meanings, inventing their own tactics for integration, so plural and dynamic. Powers not as discoverable (Foucault, 2007c), but they are scattered, circulating in social practices, produce and are subject to. So I set the objective of this study, map and are carried out by women in different groups of street dance, Dancer Original Street and Pirates, both of Pelotas / RS. To develop the research was used as a methodological approach to urban ethnography from Magnani (2002), combined with elements of the mapping method (ROLNIK, 2006). Therefore, put in operation these questions: How are invented tactics for integrating women in street dance? How are powers exercised by women-knowledge that the body is a weapon? As women constitute modes of subjectivity in this context? As new areas emerge for the production of female stocks? This research is conducted by the restlessness of a young woman with a researcher who wants to understand how women have been constituted as ethically female presence in these spaces of sociability created by the street dance. Throughout the contract I assume, incorporating and appropriating me some clues I think theoretical important to give visibility to these women in a positive, productive, while respecting the diversity of their existence. I therefore crossed, moved between agreements and disagreements in the course of thought with the problematization of Michel Foucault, specifically when he speaks of modes of subjectivity, ethics and the establishment of micro-breaks with what is on the border between subject and practices subject to freedom of stylization of its existence.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-19T18:28:55Z No. of bitstreams: 2 Dissertação - Marcos Antonio Marcelino - 2016.pdf: 6232806 bytes, checksum: 3af872ed5860121f1e01d62f8e26b9f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:35:03Z (GMT) No. of bitstreams: 2 Dissertação - Marcos Antonio Marcelino - 2016.pdf: 6232806 bytes, checksum: 3af872ed5860121f1e01d62f8e26b9f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-12-26T12:35:03Z (GMT). No. of bitstreams: 2 Dissertação - Marcos Antonio Marcelino - 2016.pdf: 6232806 bytes, checksum: 3af872ed5860121f1e01d62f8e26b9f0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-27 / As stated by Alves (2007), the productive restructuring of capital expresses the social metabolic reformulation of the capitalist system. In this constant creative action, as Harvey (2011) expresses, the conditions for adaptation and conjuncture creation are drawn up, by which capitalism ensures the exploitative hegemony over labor. Meanwhile, the modernizing action of the Brazilian territory, consisted of geopolitics that guaranteed the capitalist expansion across the country. Among the various structural crisis of capital, the 1970s crisis deserves emphasis for its re-articulation of the territories on a global scale. In Brazil, starting from the late 1980's, the productive restructuring of capital was based on the idea of a supporting neoliberal government, that, as an ideological background of the restructuring process, began to attack the practice of market being controled by government, blaming such practice for the social illness, and implementing the idea of Minimum State by which large corporations would control the economy. The privatizing policies became the flagship of Brazilian politics of that period. In this context, the Brazilian countryside is considered strategic, as happens the strengthening of the actions of large corporations, that start to control important slices of the Brazilian production, by means of agroindustrial complexes responsible for the production of commodities to the world market with substantial spatial developments. Following this line, we investigate the territorialization of capital, from the modernization of the countryside in the city of Morrinhos - Goiás. We assume that this activity is the result of the capital productive restructuring in Brazil that occurred in Goiás by the end of the 1970s. This reality puts Goiás as a strategic point for the productive logic of capital, and the modernization of the countryside as one of the facets of the process of appropriation and use of its territories. The city of Morrinhos enters this logic due to the economic importance that the countryside plays, starting from the arrival of the sugarcane industry which became one of the main productive activities of the city. In this sense, our objective is to understand the socio-spatial implications of capital territorialization by the sugarcane industry in the city of Morrinhos; the new production relations, social and environmental effects, changes in the dairy industry and others, in the frame of the destructive and concentrating capital action. To confront the expansionist action of capital in the city of Morrinhos, we considered the destructive action in the countryside education, the effects in dairy farming and the (Re)Existence set up by the peasant communities. Therefore, we researched COOPERFAT - Cooperative of Family Farmers of Tijuqueiro settlement, and the Morrinhos public policies (PAA and PNAE) that present significant elements of autonomy in relation to agribusiness. For this, a literature review was done, a fieldwork, data collection and document research regarding the city, and interviews with a number of subjects involved in the process of territorialization of sugarcane activity in the city of Morrinhos. Finally, it was noticed that the peasants/family farmers when they appropriate public policies, they set up political actions, in view of social reproduction and ensure healthy food, work, income generation and sustainability. / A reestruturação produtiva do capital expressa a reformulação sociometabólica do sistema capitalista como é afirmado por Alves (2007). Nessa constante ação criativa, como nos diz Harvey (2011) são elaboradas as condições de adaptação e criação conjuntural, pelas quais, o capitalismo garante a hegemonia exploradora do trabalho. Nesse ínterim, a ação modernizadora do território brasileiro, consistiu na geopolítica que garantiu a expansão capitalista pelo país. Dentre as várias crises estruturais do capital, a dos anos 1970, ganha ênfase pela rearticulação dos territórios em escala global. No Brasil a reestruturação produtiva do capital tem como base sustentadora o Estado neoliberal a partir do final da década de 1980, que como suporte ideológico da reestruturação produtiva, passou a atacar o controle do mercado pelo Estado, responsabilizando essa condição pelas mazelas sociais e implantando o Estado Mínimo, em que, as grandes corporações deviam controlar a economia. As políticas privatizantes tornam-se o carro chefe da política brasileira a partir desse período. Nesse contexto, o campo brasileiro é considerado estratégico, pois ocorre o fortalecimento da ação das grandes corporações, que passam a controlar, importante fatia da produção brasileira, pela via dos complexos agroindustriais responsáveis pela produção de commodities para o mercado mundial com desdobramentos espaciais substanciais. Seguindo essa vertente, propôs se o estudo sobre a territorialização do capital, a partir da modernização do campo no Município de Morrinhos - Goiás. Partimos do pressuposto que esta atividade é resultado da reestruturação produtiva do capital no Brasil que se territorializa em Goiás a partir do final da década de 1970. Tal realidade coloca Goiás como ponto estratégico para a lógica produtiva do capital, tendo a modernização do campo como uma das faces do processo de apropriação e uso dos territórios. O Município de Morrinhos entra nessa lógica pela relevância econômica que o campo desempenha a partir da chegada do setor sucroenergético, se constituindo, em uma das principais atividades produtivas do Município. Nesse sentido, o objetivo da pesquisa foi compreender as implicações socioespaciais da territorialização do capital pelo setor sucroenergético no Município de Morrinhos; as novas relações de produção, os efeitos socioambientais, as mudanças na pecuária leiteira e outros, sob os moldes da ação destruidora e concentradora do capital. Para confrontar a ação expansionista do capital no Município de Morrinhos considerou-se a ação destrutiva na educação no campo, os efeitos na pecuária leiteira e as (Re)Existências construídas pelas Comunidades Camponesas. Para tanto, pesquisou-se a COOPERFAT - Cooperativa dos Agricultores Familiares do Assentamento Tijuqueiro e as políticas públicas (PAA e PNAE) em Morrinhos que apresentam elementos significativos de autonomia em relação ao agronegócio. Para isso foi feita revisão bibliográfica, trabalho de campo, levantamento de dados e documentos relativos ao Município e entrevistas com vários sujeitos envolvidos no processo de territorialização da atividade canavieira no Município de Morrinhos. Por fim, percebeu-se que os camponeses/agricultores familiares quando se apropriam das políticas públicas constroem ações políticas, tendo em vista, a reprodução social e asseguram alimentos saudáveis, trabalho, geração de renda e sustentabilidade.

L’Idiot de la famille est complément de Questions de Méthode. Sartre demande dans Questions de Méthode un changement de langage. Il s’agira dans cette thèse de déchiffrer l’écriture sartrienne en ses nuances, détails et couleurs. En d’autres mots, il s’agira d’étudier les livres de Sartre pour trouver un sens qui nous parle, là où sa parole se contredit et s’affirme en même temps. Notre tâche de relecture dans L’Idiot de la famille est ainsi d’expliciter l’axe central de la psychanalyse existentielle et d’aller chercher le sens le plus caché de la philosophie de la vie. Dans la mesure où Sartre va montrer que nous devons décider du genre de vie que nous voulons avoir, cette étude vise à éclairer pourquoi Sartre est un penseur nécessaire pour l’homme d’aujourd’hui. Il s’agira ainsi de traiter L’Idiot de la famille comme une œuvre d’apprentissage. Dans ce sens, le sens et la signification de notre recherche ne sont pas fermés et continuent ouverts à des nouvelles relectures. Notre principal objectif est aussi bien d’expliciter quel a été le fil conducteur de Sartre pour écrire L’Idiot de la famille que de vérifier si l’essence de l’écrivain peut être définie par ses écritures. Autrement dit, est-ce que les écritures montrent qui est l’auteur en tant qu’homme, ou bien pouvons-nous plutôt voir son double, celui qui parle à sa place et qui devient parole écrite ? / The Fool of the family is complement to the book of philosophy Questions of Method. Sartre asks in Questions of Method a change of language. It will be in this thesis to decipher Sartre writing in its nuances, details and colors. In other words, it is designed to study books from Sartre in order to find a meaning that makes sense for us, where his words are full of statements and their contrary at the same time. Our task of re-reading in The Fool of the family is to clarify the central axis of the existential psychoanalysis and point the most hidden of the philosophy of life. Insofar as Sartre will show that we must decide on the kind of life we want to have, this study aims to illuminate why Sartre is an indispensable thinker for the man of today. Thus, it will be necessary to treatThe Fool of the family as a work for learning. In this sense, the meaning and significance of our research are not closed and still opened to new readings. Our main objective is to clarify what has been the main theme of Sartreto write The Fool of the family and to check if the essence of the writer can be defined by his writings. In other words, do the writings show us who is the author as a man, or else can we rather see his double, one who speaks at his place and then become written word?

Current debates on space reveal a dichotomy between two apparently conflicting understandings of space: on the one hand, space is understood as a physical, tangible entity that has an impact on how we perceive, feel and emotionally inhabit the world, and on the other hand, space is conceived as an abstract entity, suggesting that space has no active role (a productivity) within everyday life, being solely a conceptual product of intellectual reasoning. As a result, the commonly used word: ‘space’, will be discussed as an ontologically paradoxical, ambiguous and elusive concept; a concept that cannot be captured within a single definition. This thesis consequently researches the ontology of space by informing a framework that embraces the complexity of space as an ambiguous and unrepresentable entity. It aims to reconcile the multiple understandings of space, liberating it from the binary thinking that opposes the abstract to the physical, disclosing its potential productivity. This thesis thus proposes a methodology departing from a transdisciplinary approach that addresses the variability, multiplicity, paradoxicality and ambiguity of space through a ‘bastard’ epistemology that defies binary logic by considering what falls out of order and norm. To research an ontology through a bastard epistemology is to work outside of (but in combination with) the intelligible and sensible realms, through a framework that is non-representational, but instead enactive and performative, driven by experience, affect and aesthetics; thus allowing access to an entity that is both ambiguous and also unrepresentable. In doing so, this thesis argues that space is diversely implicated in the constitution of research methodologies through its interactions with order and structures, as well as agential in the constitution of understandings of human interactions with the world; and therefore, it will be argued, space has methodological purchase. The consequence of this methodological purchase is that space can reveal itself if a research strategy is implemented that works through the multiple dimensions of space. Within this context the diagram will be introduced as a productive path because enables a bastard epistemology to work through the multiplicity of space, since the diagram, is a performed, materialised outcome of multiple experiences of the making of order through the interaction between physical and conceptual dimensions. In synthesis, the diagram is used to recursively research an ontology of space, showing the main contribution of this thesis: of how without negating its complexity and multiplicity, space can be useful, constructive and productive within contemporary contexts of research methodologies.

Does Yahweh exist? What is the ontological status of Yahweh-as-depicted in the Old Testament texts? Is the deity merely a character of fiction or does He also exist in extra-textual reality? According to the viewpoint of the devil’s advocate whose perspective on the issue is articulated in this thesis, the answer to the question is simply, no – Yahweh does not exist. He may seem real to those who believe in him and in the world of the text but he has no extra-textual and extra-psychical counterpart. To prove such a controversial claim, the philosophy of religion has been utilised as auxiliary discipline within Old Testament studies in the form of philosophicalcritical analysis (philosophical criticism / philosophy of Old Testament religion). A devil’s advocate's case against realism in Old Testament theology has been reconstructed in the form of seven arguments against the existence of Yahweh. According to the argument from theological pluralism, one element of the depiction of Yahweh in the text that is rather suspicious is the fact that Yahweh is characterised in ways that blatantly contradict each other. Both synchronic and diachronic perspectives on the theological contradictions suggest that there is no coherent biblical view of what Yahweh is actually like, what his will is and what he supposedly did. This deconstructs realism since the same actually existing entity cannot have discrepant attributes, hold mutually exclusive moral beliefs and have a history of both doing something and not doing the same thing at the same time. From the perspective of the argument from unorthodox theology, it is apparent that Yahweh is often depicted in ways most unorthodox from the point of view of Christian philosophical theology. Some texts appear to suggest he may not be eternal, single, omnipotent, omniscient, precognisant, immutable, omnipresent or wholly uninvolved in the actualisation of evil. If there is a God and if this God has all the attributes assigned to him by popular classical Christian philosophical theology, it follows that unorthodox depictions of Yahweh must be fictitious. In the view of the argument from polymorphic projection, everything about the god Yahweh appears suspiciously all-too-human. What Yahweh believes about the world, his self-talk, what he considers morally right and wrong and the way in which his own abode is run are all uncannily similar to the worldview and superstitions of the Iron Age Levant. The divine variables never transcend this all-too-local and all-too-cultural matrix and even change along with it. This unmasks Yahweh as ananthropomorphic, sociomorphic and sychomorphic projection – a character of fiction who does not exist outside the minds of those who created him in their image. The argument from mythology and syncretism demonstrates that the discourse of Yahweh’s religion and the sacred stories and poems in which he features contain numerous parallels to the myths, legends, folklore and superstitions found in other pagan religions. There are also marked traces of syncretism between the cult and theology of Yahweh and the ideologies of the Israelites' neighbours which, in each case, predates Yahwism. This suggests that Yahweh’s ontological status may very well not be all that different from that of El, Baal, Zeus or Maduk. From the perspective of the argument from fictitious cosmography, the world in the text where Yahweh is depicted as existing, acting and in which his abode is located and of which he is the creator, does not exist. Yahweh’s world and his worldview are demonstrably fictitious. Since the Old Testament depicts Yahweh as being “up there” in the sky and since we know that he is demonstrably not there, Yahweh-as-depicted stands unmasked as a character of fiction. The argument from fictitious history asserts that the Old Testament is filled with historical fiction. For a variety of reasons, it can be demonstrated that many of the depictions of supposed historical scenarios are completely fictitious in that they never happened in the way the details of the accounts imply were the case. Since what was intended as history is actually fiction and no god literally appeared, acted and spoke as Yahweh is depicted as doing, it follows that Yahweh as thus depicted is a character of fiction. He does not exist. Finally, the argument from meta-textual history shows that, on the one hand, the all-too-recent and all-too-local origins of the worship of Yahweh on a historical and cosmic scale unmask it as a wholly human enterprise. On the other hand, the Old Testament texts themselves have all-too-human origins rather than being the result of actual divine revelation. The Old Testament appears not to be the Word of God but human words about an allegedly existing deity. The development of Yahwism and its derivatives (Judaism and Christianity) seems not to have been determined by progressive revelation but by socio-cultural paradigm shifts and a history of repressed anti-realist tendencies. From such a meta-textual historical perspective it becomes obvious that Yahweh-as-depicted in the text is indeed no more than a product of human ideological imagination. In other words, he does not really exist. Though not all seven of these devil’s advocate’s arguments may be equally devastating when viewed in isolation, in the form of a cumulative argument against realism, they constitute seemingly irrefutable proof that Yahweh-as-depicted in the text does not exist. Consequently, realism collapses not only in Old Testament theology but also in any form of theism somehow related to, rooted in and/or dependent on realism in its discourse. / Thesis (PhD (Old Testament Science))--University of Pretoria, 2005. / Old Testament Studies / unrestricted

Orientador: Alcides Cardoso dos Santos / Resumo: No romance Enquanto agonizo (1930) o modernista estadunidense William Faulkner apresenta a jornada da família Bundren que, a fim de enterrar o corpo de sua matriarca, marca a saga de Yoknapatawpha com uma emblemática e tragicômica jornada até Jefferson, sede do condado imaginado pelo escritor. Em trânsito constante, os enlutados membros da família seguem absortos em um trio de conflitos – internos; entre si; e com seu tempo, lugar e meio. Comum às narrativas faulknerianas, o luto gera, mormente, a reflexão acerca daquilo que foi perdido, mas que permanece latente na memória, bem como acerca do que pode ou não ser reconstruído sobre as ruínas que restaram no presente. Ademais, o ciclo infindável da morte, expresso no título do romance no idioma original (As I Lay Dying), e a agonia, que figura no título traduzido para a língua portuguesa, atestam a experiência temporal da modernidade como marcada por irreparáveis perdas nos campos da metafísica, da teologia e da estética. A ênfase do autor nos aspectos existenciais das principais personagens dessa narrativa, por meio da exploração artística do fenômeno da morte, revela uma dimensão filosófica da obra faulkneriana ainda pouco estudada pela crítica. Nosso objetivo neste trabalho é o de evidenciar – por meio da recorrência às reflexões de filósofos modernos e contemporâneos como Arthur Schopenhauer, Martin Heidegger e Maurice Blanchot – como as reflexões feitas por Addie Bundren de dentro de seu caixão conectam a vida à morte em ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In the novel As I Lay Dying (1930) the American modernist William Faulkner presents the journey of the Bundren family, one that marks the Yoknapatawpha saga with a symbolic and tragic journey to Jefferson, the seat of the author’s imaginary County, with the objective of burying the family’s matriarch. Continuously moving, the family members remain engrossed in a trio of internal conflicts – with themselves; among each other; and with their time, place and environment. Mourning, common to Faulknerian narratives, mainly generates a reflection on what has been lost but which remains dormant in memory, as well as on what may or may not be rebuilt on the ruins that have remained in present times. Moreover, the endless cycle of death, expressed in the title of the novel in the original language, and the agony, which appears in the title translated into Portuguese (Enquanto agonizo), vouch for the temporal experience of modernity as marked by irreparable losses in the fields of metaphysics, theology and aesthetics. The author’s emphasis on the existential facets of the main narrative characters, through the artistic exploration of the phenomenon of death, reveals a philosophical dimension of faulknerian works that remain insufficiently studied by critics. Our goal in this thesis is to demonstrate – by recurring to the reflections of modern and contemporary philosophers such as Arthur Schopenhauer, Martin Heidegger, and Maurice Blanchot – how Addie Bundren’s ponderings from within he... (Complete abstract click electronic access below) / Doutor

RESUME My diploma thesis is focused on the comparison of opinions of Jean-Paul Sartre and Albert Camus concerning existential and philosophical motifs in their literary work. I tried to compare the occurrence of individual existential categories, based on selected philosophical and literary works of both authors, who rank among the French branch of atheist existentialism. The first chapter deals with basic characteristics of existential philosophy and its changes between the two wars; and the consequential spreading of this philosophy thinking in the post-war Europe, in which it achieved a great success in a few branches. Majority of this chapter is devoted to French existentialism, whose goal was to explore and describe concrete existence, while human being (existence) is identified as freedom there. It was due to Jean- Paul Sartre that French existentialism has become the most significant way of thinking. The two following chapters briefly describe the lives of Sartre and Camus; because the lives of authors who write philosophical and literary works are always interconnected with their work. The second and third chapter contain the analysis of selected works of both authors, while I didn't forget the dramatic work which is a part of philosophical ad literary work and by means of that I presented mainly...

Le Zibaldone est le grand journal de pensées de Giacomo Leopardi (1798-1837). Le jeune philologue et poète y consigne, sur près de quinze ans (1817-1832) et plus de 4500 pages, des pensées qu’il nomme « de philosophie variée et de belle littérature ». Et en effet, c’est bien la variété, et même la plus étonnante bigarrure qui caractérisent ce monumental magasin d’écriture : bigarrure des matières brassées (théorie de la connaissance, métaphysique, anthropologie, politique, morale, esthétique, autobiographie) ; bigarrure de ses formes (aphorisme, anecdote, maxime, remarque, citation, note érudite, essai) ; bigarrure de ses tonalités (tour à tour sarcastique ou sérieuse, docte ou familière, polémique ou poétique) ; intensité variable de ses rythmes d’écriture etc. Le Zibaldone apparaît donc tout d’abord comme un flux discontinu et disparate de pensée. Cependant, Leopardi n’entend pas y exposer une rhapsodie de vérités isolées et fragmentaires mais une véritable philosophie, un authentique système philosophique. « Il mio sistema » : « mon système se fonde sur un scepticisme raisonné », « mon système ne se fonde pas sur le christianisme mais s’accorde avec lui », « mon système ne détruit pas l’absolu mais le multiplie » etc. La philosophie de Leopardi se place sous le signe d’une assomption répétée et explicite de la systématicité : « il n’existe pas de philosophe véritable sans système ». Affronter la question du système revient alors pour lui à affronter la question de l’ordre. Il ne s’agit pas d’une simple velléité mais d’une exigence aussi bien méthodologique qu’ontologique. Manquer d’esprit de système c’est manquer d’ordre, et c’est surtout manquer l’essence même du réel, de la nature en tant que totalité , une nature qu’il ne saurait concevoir autrement, elle aussi, que comme un système et comme un ordre. Quel est donc l’ordre du système léopardien ? Et dans quelle mesure celui-ci épouse-t-il l’ordre du système de la nature ? Quel est leur fondement commun ? Répondre à ces questions revient à parcourir l’ensemble du manuscrit et à montrer en quoi cette totalité mouvante, ouverte et réticulaire qu’est le Zibaldone est le seul lieu à même d’accueillir une pensée placée devant l’urgence de statuer sur les guises de l’existence et de la contradiction. / The Zibaldone is Giacomo Leopardi’s (1798-1837) famous diary of thoughts. The young philologist and poet recorded, for almost fifteen years (1817-1832) and in over more than 4,500 pages, thoughts that he calls "of varied philosophy and fine literature." And, indeed, it is its variety and even the most striking variegation which characterise this monumental magasin d’écriture: the variegation of its subject matters (theory of knowledge, metaphysics, anthropology, politics, morals, aesthetics, autobiography); the variegation of its forms (aphorism, anecdote, maxim, observation, quotation, scholarly notes, essay); the variegation of its tones (sarcastic or serious, learned or familiar, polemical or poetic); the variable intensity of its writing rhythms and so forth. So the Zibaldone appears as a discontinuous and disparate stream of thought. However, Leopardi does not mean to put forward a rhapsody of isolated and fragmentary truths but a true philosophy, a genuine philosophical system. "Il mio sistema": "my system is based on a well-argued scepticism", "my system is not based on Christianism but is compatible with it", "my system does not destroy the absolute but multiplies it", etc. Leopardi’s philosophy is placed under the sign of a repeated and explicit assumption of systematicity: "there is no true philosopher without a system." For him confronting the question of the system means confronting the question of order. It is not about a simple inclination but about a methodological as well as an ontological requirement. Lacking the spirit of a system is lacking order, and it’s above all lacking the essence of reality itself, the essence of nature as a totality, a nature he cannot conceive otherwise than as a system and an order. So what is the order of the leopardian system? And to what extent does it fit in with the order of the system of nature? What is their common foundation? Answering these questions means browsing through the whole manuscript to show to what extent this moving, open and reticular totality which is the Zibaldone is the only suitable place to receive a thought placed in front of the urgency to pronounce a judgment on the modes of existence and contradiction.