[pt] Esta dissertação propõe abrir um caminho especulativo de imaginação sobre a arquitetura moderna da Casa das Canoas (1951-1953), de autoria do arquiteto carioca Oscar Niemeyer (1907-2012), tendo alguns acontecimentos como âncora. Diferente de uma análise de projeto tradicional de arquitetura, esta pesquisa se desenvolve a partir das relações, dos afetos masculinos, da construção de corpo da modernidade, de sua visão sobre sexualidade e do seu fetiche com gênero. Neste sentido, não só a arquitetura como seus meios de comunicação – desenho, fotografia, escultura, paisagismo ou publicação – , demonstram o arcabouço projetivo das condutas humanas modernas e da construção de sociedade da época. Essas mídias possuem um papel fundamental formador de um imaginário moderno construído segundo prazeres e desejos específicos. Esta pesquisa convida a refletir sobre esses estatutos e a considerar objetos como corpos construídos, bem como a refletir sobre as normas que governam corpos e discursos de acordo com condutas e códigos culturais masculinos. Parto da inevitável consideração de que a prática arquitetônica moderna foi dominada por um pensamento patriarcal e, consequentemente, espaços projetados foram imaginados a partir de fantasias masculinas. Nesse processo está presente uma narrativa crítica à violência deste imaginário, presente em parte na arquitetura moderna brasileira e perpetuada até os dias de hoje. / [en] This dissertation proposes to open a speculative path of imagination about the modern architecture of Casa das Canoas (1951-1953), by the Brazilian architect Oscar Niemeyer (1907-2012), having some events as an anchor. Different from a traditional architectural project analysis, this research is developed from its relations, male affections, the construction of a modern body, its vision of sexuality and its gender fetish. In this sense, not only architecture but the media through it was manifested – drawings, photography, sculpture, landscaping or publishing – demonstrate the projective framework of modern human behavior and the construction of society at the time. These media have a fundamental role in forming a modern imagination built according to pleasure and desire. This research invites you to reflect on these statutes and consider objects as constructed bodies, as well as to reflect on the norms that govern bodies and discourses according to male behaviors and cultural codes. I start from the consideration that modern architectural practice was dominated by patriarchal thinking and, consequently, designed spaces were imagined from male fantasies. In this process, a critical narrative of the violence of this imaginary is present in part of modern Brazilian architecture and perpetuated until today.

The point of departure of this thesis is derived from a modern tendency to create a dichotomy between selfless love and human flourishing. Modern attempts to liberate the human being from heteronomous oppression and the moral norms promoting this have sometimes led to the conclusion that selfless love is harmful to human flourishing. Such a conclusion has gained momentum also through modernist re-conceptualisations of the self as an autonomous but empty consciousness which must guard itself against determination by the other. In effect, significant thinkers have replaced the notion of selfless love with a call for self-assertion over against the other, as key to the individual person’s well-being. This has been matched by Christian dismissals of the individual’s pursuit of human flourishing. In the face of modern insights into the ‘desirous’ nature of the human being, modern Christian theology has equally struggled to sustain the tension between the traditional Christian notion of selfless or self-giving love and human beings’ desire to affirm themselves and to find personal fulfilment in this world. Strands of Christian theology have, for instance, affirmed a self-surrendering love at the cost of dismissing the individual’s worldly desires entirely. In this thesis, I outline this situation in modern thought and its problematic consequences. With a view to discerning whether selfless love and human flourishing can be re-connected, I then undertake close studies of the theologian Paul Tillich’s and the moral philosopher and novelist Iris Murdoch’s conceptualisations of the self and of love. As I will argue, Tillich’s and Murdoch’s engagement with modern thought leads them to develop accounts of the self, which correspond with understandings of love as both selfless and conducive to human flourishing. On the basis of their thought I thus argue that selfless love and human flourishing can be understood as interdependent even today.

This paper explores the dialectical concept of love in Dostoyevsky's The Brothers Karamazov through Katerina and Grushenka, the heroines, and Dmitri Karamazov. Dostoyevsky's dialectic is most accurately described by the terms Eros and Agape, as defined by Denis de Rougemont in Love in the Western World. Chapter One examines the character of Katerina and establishes that although her love is ostensibly Agape, her most frequent expression of love is Eros. Chapter Two establishes that Grushenka's most frequent expression of love is Agape although ostensibly Eros. Chapter Three demonstrates how each woman personifies a pole of Dmitri Karamazov's inner conflict, and then traces his development with regard to his relationship to each woman.

O processo de coloração de cabelos é um dos métodos de tintura mais antigos. No século XIX, iniciou-se a produção de corantes sintéticos, a partir do desenvolvimento da pfenilenodiamina (PPD). Os corantes de cabelo são classificados de acordo com seu mecanismo de ação. Os corantes permanentes são classificados por mecanismos oxidativos, enquanto os corantes diretos colorem a fibra capilar por mecanismos não oxidativos. A investigação sobre os possíveis danos á saúde humana, que podem ser resultantes da exposição de corantes de cabelos, têm sido um tema de enorme desafio para a comunidade cientifica. Particularmente, devido à enorme discrepância dos estudos epidemiológicos e estudos que empregam metodologias in vitro. Neste trabalho, foram investigadas a capacidade citotóxica de um composto representante de cada classe de tinturas de cabelo, um corante temporário (Basic Yellow 57 (BY57), um semi-temporário (Basic Red 51(BR51) e um ingrediente permanente p-fenilinodiamina (PPD) em linhagens de células de pele humana. As linhagens normais da pele humana estudadas foram os queratinócitos imortalizados humanos (HaCaT) e fibroblastos primários, utilizou-se também melanoma SK-Mel-103. Posteriormente, após caracterização do corante mais tóxico, foi investigado o tipo de morte celular, as possíveis alterações destes compostos no ciclo celular, a capacidade de geração de espécies reativas de oxigênio (EROs) e aplicação em cultura tridimensional de pele artificial. Posteriormente, foi avaliada a capacidade de cada corante em induzir estresse oxidativo em queratinócitos humanos (HaCaT), que são a primeira via de exposição de corantes de cabelos. Em seguida, o corante elegido mais tóxico foi aplicado em pele humana provenientes de cirurgia. Finalmente, o potencial de mutagenicidade dos corantes BY57 e BR51 foram avaliados. / The process involving hair dyes is one of the oldest methods of coloring. The use of synthetic hair dyes started in the nineteenth century, after the development of p-phenylenodiamine (PPD). The hair dyes are classified according to their mechanism of action. The permanent hair dyes are classified by oxidative mechanisms, while direct dyes color the hair fiber by non-oxidative mechanisms. Research regarding the potential damage of hair dyes to human health has been an enormous challenge for the scientific community. Particularly due to the large discrepancy of epidemiological studies involving in vitro methodologies. In this study, we evaluated the cytotoxic potential of a compound representative from each of the class of hair dyes, a temporary dye (Basic Yellow 57 (BY57), a semi temporary (Basic Red 51 (BR51) and a permanent hair dyes p-phenylenodiamine (PPD) in human skin cells. The studied skin cell lines where, immortalized human keratinocytes (HaCaT) primary fibroblasts, we also used melanoma SK-Mel-103. Subsequently, after characterization of the most toxic dye, we investigated specific mechanisms of cell death, changes in cell cycle and the ability to generate reactive oxygen species (ROS) followed by the evaluation of three-dimensional artificial skin. In addition, we assessed the ability of each dye in inducing oxidative stress in immortalized human keratinocytes (HaCaT) this is the primary route of exposure of hair dyes. Then, the most toxic compound was tested in human skin explants. Finally the mutagenic potential of the dyes BY57 and BR51 were evaluated.

O fator de transcrição mitocondrial A (TFAM) pertence ao grupo das proteínas de alta mobilidade, apresentando um importante papel para a replicação, transcrição e estrutura/organização do DNA mitocondrial (DNAmt). O DNAmt está organizado em um complexo nucleoprotéico, chamado de nucleóide, do qual TFAM é o principal componente protéico, empacotando o DNAmt de forma análoga às histonas no DNA nuclear. Em analogia ao DNA nuclear, foi sugerido que esse empacotamento pode proteger o DNAmt do ataque de espécies oxidantes, enquanto que, por outro lado, poderia também impedir o acesso das enzimas de reparo. Este trabalho visou esclarecer qual o papel de TFAM na proteção do DNAmt e entender como TFAM influencia o reparo do DNAmt. Nossos resultados indicaram que o empacotamento do DNAmt por TFAM pode proteger o DNA da formação de lesões em condições de estresse oxidativo. Células com redução na expressão de TFAM apresentaram taxas alteradas de proliferação e uma menor viabilidade celular após o tratamento com o fotossensibilizador azul de metileno, indicando que TFAM pode contribuir para a manutenção da integridade funcional da mitocondria. A velocidade do reparo do DNAmt, em células Kd-TFAM, foi aparentemente maior, o que indicou a importância da modulação da interação de TFAM com o DNAmt para um reparo rápido e eficiente das lesões oxidadas. Portanto, TFAM desempenha um papel importante para a estabilidade genômica mitocondrial, protegendo o DNAmt dos efeitos deletérios das lesões oxidadas no estresse oxidativo, e também modulando a velocidade do reparo do DNAmt, provavelmente através de modificações/interações que permitam que as enzimas de reparo acessem as lesões no DNAmt. / The mitochondrial transcription factor A (TFAM) belongs to the high mobility group box proteins, and is essencial for replication, transcription and structure/organization of the mitochondrial DNA (mtDNA).The mtDNA is organized in a nucleoproteic complex called the nucleoid, where TFAMis the main protein component,packaging mtDNA in a manner similar to histones in the nuclear DNA. In analogy to the histone role in nuclear DNA, it was suggested that mtDNA packaging by TFAM could protect the mtDNA against oxidized lesions. On the other hand, it could also prevent the access of repair enzymes. This study aimed to understand whether TFAM plays a role in mtDNA stability through these opposing effects of protecting from damage and preventing repair. Our results indicated that TFAM protects the mtDNA against lesion formation upon oxidative stress. Cells with reduced expression of TFAM showed altered proliferation and lower cellular viability after treatment with the photoactivated dye methylene blue, indicating an important role for TFAM in maintaining mitochondrial function and cell survival. MtDNA repair rate was apparently higherin Kd-TFAM cells, which indicated the importance of modulating the interaction of TFAM with mtDNA for a quick and efficient repair of oxidized lesions. Therefore, TFAM plays an important role in maintaining mitochondrial genomic stability by protecting the mtDNA of the deleterious effects of oxidized lesions in oxidative stress, also modulating mtDNA repair, likely through modifications/interactions that modulate its DNA binding activity and access to lesions in mtDNA by DNA repair enzymes.

O fator de transcrição mitocondrial A (TFAM) pertence ao grupo das proteínas de alta mobilidade, apresentando um importante papel para a replicação, transcrição e estrutura/organização do DNA mitocondrial (DNAmt). O DNAmt está organizado em um complexo nucleoprotéico, chamado de nucleóide, do qual TFAM é o principal componente protéico, empacotando o DNAmt de forma análoga às histonas no DNA nuclear. Em analogia ao DNA nuclear, foi sugerido que esse empacotamento pode proteger o DNAmt do ataque de espécies oxidantes, enquanto que, por outro lado, poderia também impedir o acesso das enzimas de reparo. Este trabalho visou esclarecer qual o papel de TFAM na proteção do DNAmt e entender como TFAM influencia o reparo do DNAmt. Nossos resultados indicaram que o empacotamento do DNAmt por TFAM pode proteger o DNA da formação de lesões em condições de estresse oxidativo. Células com redução na expressão de TFAM apresentaram taxas alteradas de proliferação e uma menor viabilidade celular após o tratamento com o fotossensibilizador azul de metileno, indicando que TFAM pode contribuir para a manutenção da integridade funcional da mitocondria. A velocidade do reparo do DNAmt, em células Kd-TFAM, foi aparentemente maior, o que indicou a importância da modulação da interação de TFAM com o DNAmt para um reparo rápido e eficiente das lesões oxidadas. Portanto, TFAM desempenha um papel importante para a estabilidade genômica mitocondrial, protegendo o DNAmt dos efeitos deletérios das lesões oxidadas no estresse oxidativo, e também modulando a velocidade do reparo do DNAmt, provavelmente através de modificações/interações que permitam que as enzimas de reparo acessem as lesões no DNAmt. / The mitochondrial transcription factor A (TFAM) belongs to the high mobility group box proteins, and is essencial for replication, transcription and structure/organization of the mitochondrial DNA (mtDNA).The mtDNA is organized in a nucleoproteic complex called the nucleoid, where TFAMis the main protein component,packaging mtDNA in a manner similar to histones in the nuclear DNA. In analogy to the histone role in nuclear DNA, it was suggested that mtDNA packaging by TFAM could protect the mtDNA against oxidized lesions. On the other hand, it could also prevent the access of repair enzymes. This study aimed to understand whether TFAM plays a role in mtDNA stability through these opposing effects of protecting from damage and preventing repair. Our results indicated that TFAM protects the mtDNA against lesion formation upon oxidative stress. Cells with reduced expression of TFAM showed altered proliferation and lower cellular viability after treatment with the photoactivated dye methylene blue, indicating an important role for TFAM in maintaining mitochondrial function and cell survival. MtDNA repair rate was apparently higherin Kd-TFAM cells, which indicated the importance of modulating the interaction of TFAM with mtDNA for a quick and efficient repair of oxidized lesions. Therefore, TFAM plays an important role in maintaining mitochondrial genomic stability by protecting the mtDNA of the deleterious effects of oxidized lesions in oxidative stress, also modulating mtDNA repair, likely through modifications/interactions that modulate its DNA binding activity and access to lesions in mtDNA by DNA repair enzymes.

We insist upon “green space”, but the term’s vague cast brings little into focus. In this thesis I search out what it is that we look for in green space. I consider some ways, within our North American context, that we interact with it, represent it, speak about it and write about it. Drawing together evidence from a diverse range of sources in myth and mapping, poetry, classical philosophy, feminist theory, language, and personal experience, I find enigmatic but persistent geometries of desire binding us to the notion of green space. These desires for green space manifest themselves in relationships of practical dependence, imaginative dependence, violence, and love. But most of all green space is at work, wherever it emerges, at the core of our becoming-other.

We insist upon “green space”, but the term’s vague cast brings little into focus. In this thesis I search out what it is that we look for in green space. I consider some ways, within our North American context, that we interact with it, represent it, speak about it and write about it. Drawing together evidence from a diverse range of sources in myth and mapping, poetry, classical philosophy, feminist theory, language, and personal experience, I find enigmatic but persistent geometries of desire binding us to the notion of green space. These desires for green space manifest themselves in relationships of practical dependence, imaginative dependence, violence, and love. But most of all green space is at work, wherever it emerges, at the core of our becoming-other.

Birutės Pūkelevičiūtės, Liūnės Sutemos ir Sylvia‘os Plath poezijoje meilės ir mirties eroso problematika skleidžiasi kaip ribinių patirčių ištiktis. Kūryba šios autorėms pasirodo kaip vienintelė niša, saugi sfera, kurioje kūrėjos gali jaustis laisvos, manifestuojančios, kuriančios naujus ir pertvarkančios senus archajinio pasaulio modelius. Galima teigti, kad B. Pūkelevičiūtės, Liūnė Sutemos ir S. Plath rašymas mitų ar ritualų motyvais visų pirma leidžia šių autorių kūrybą interpretuoti būtent mitopoetikos lauke. Tiriamojoje poezijoje lyrinis „Aš“ nuolat kinta dėl išorinio pasaulio moderniųjų iniciacijų: II pasaulinis karas – mirties ir prisikėlimo (naujojo „Aš“) suvoktis, emigracijos problema (Tėvynės, Dievo ilgesys, skausminga savasties būtis), meilės ištiktis (nuo kuriančios ir griaunančios aistros, meilės ir mirties eroso iki mitinio ar liturginio pasaulio kaip išeities terpės). Autorių poezijoje lyriniai subjektai – archajinio pasaulio dalis, tačiau būdami moderniajame pasaulyje ir priimdami jo taisykles – perteikia jas kaip tam tikrą koncepciją. Šios koncepcijos pagrindas – mito ir modernumo jungtis, mito perkūrimas, gamtos išjautimas ir kontempliacija kelyje tarp gėrio ir blogio principų, tarp dievui Erotui artimų stokos ir pilnatvės būsenų. B. Pūkelevičiūtės ir Liūnės Sutemos poezijoje gausu biblinių asociacijų, liturginių motyvų, kurie veikia ir kaip apsivalymo, ir kaip manifesto forma. Ambivalentiška S. Plath poezijoje lyrinis subjektas išjaučia arba savyje... [toliau žr. visą tekstą] / Birutė Pūkelevičiūtė, Liūnė Sutema and Sylvia Plath’s poetry unholds love and death Eros problems as a stuck of marginal experiences. Creation for the authors appears as a single niche, secure area where they can feel free, manifesting, developing new and transforming the old models of archaic world. It can be stated, that Liūnė Sutema and Sylvia Plath’s writing in myth and ritual motives in particular can be precisely interpreted as myth poetics. The lyric “I” is constantly changing due to external world of modern initiations: World War II - the death and resurrection (the new "I") realization, emigration (longing for the homeland, God, painful self – being), love struck (from developing and destructive passion, the Eros of love and death to the mythical or liturgical world as the source medium). The lyrical subjects in authors‘ poetry is the part of archaic world, but being the in modern world and accepting its rules, represent them as a certain concept. The basis of this conception is a connection between myth and modernity, the recreation of myth, the sensation of nature and contemplation on the path in between good and evil principles, amongst Erot’s conditions of lack and fullness. Birutė Pūkelevičiūtė and Liūnė Sutema’s poetry is full of biblical associations, liturgical motives which act as a cleansing and as a manifest form. In S. Plath's poetry, the lyrical subject is ambivalently bearing or sublimating the death of ‘Nietzsche God’, experiences the Nazi genocide... [to full text]

La littérature russe, connue entre autres pour son « caractère pudique » à l’égard des désirs charnels, vit un bouleversement au début de la dernière décennie du XXe siècle, lorsque la censure soviétique disparaît et le marché, tout comme le pays, s’ouvre au libéralisme et aux valeurs occidentales. L’érotisme fleurit, alors, triomphalement dans les pages de la littérature des circuits officiels. Plus d’un quart de siècle s’est écoulé depuis, et l’euphorie sexuelle semble s’être bien calmée. Quel est le regard porté par la littérature contemporaine russe sur la sexualité, sur les désirs et les droits de la chair, tel fut le point de départ de notre étude qui s’est constituée autour de quatre axes thématiques renvoyant à des concepts fondamentaux de toute la tradition érotique, mais qui se révèlent être fort particuliers dans le contexte de la culture russe dominé par l’approche orthodoxe du corps et de la sexualité : éros thanatique qui aborde le rapport entre le désir de le vie et celui de la mort, éros antiprocréatif qui aborde la relation conflictuelle entre sexualité et procréation, éros utopique qui s’intéresse à la sexualité dans le cadre d’un projet utopique et, enfin, éros hédoniste s’intéressant à la sexualité hors de tout paradigme utilitaire, sauf celui du plaisir des sens. Nous chercherons à évaluer dans quelle mesure la représentation de l’éros, du corps et de la sexualité chez les auteurs contemporains reste influencée par l’approche traditionnelle et dans quelle mesure ils arrivent à s’en affranchir. Par cette étude nous espérons contribuer à la réflexion scientifique sur le sujet qui reste encore peu développée sur le sol francophone. / Russian literature was known until the last decade of the twentieth century for its «chasteness» and the modest way with which it approached sexual desire. It however experienced a serious upheaval in the 1990s, when Soviet censorship disappeared, and the country opened itself to market and Western liberal values. Eroticism then blossomed even in mainstream literature. But a quarter of a century later, sexual euphoria seems to have cooled down. The starting point of this study was an interrogation about how does contemporary Russian literature view sex, desire, and the rights of the flesh. It was developed along four main themes, representing fundamental concepts of the erotic tradition, which, however, take very particular shapes in the context of Russian culture, dominated by Orthodox view of the body and sexuality : thanatic Eros, on the connection between desire for life and for death, anti-procreative Eros, on the troubled relationship between sex and procreation, utopian Eros, which explores the role of sex in utopic projects, and hedonistic Eros, interested in sex outside of any utilitarian paradigm, except pleasure of the senses. We will try to evaluate how much and in what ways contemporary Russian writers still retain the traditional picture of Eros, body, and sex, how they strive to free themselves from it, and with what success. We hope that this study will contribute to foster more scholarly research on this subject, which is still quite underdeveloped in French-speaking countries.