This study seeks to understand the forces initiating and sustaining colonialism, specifically the German colonial expansion in Africa. The history of this colonialism, and the relations between Germany and Africa, is difficult to understand holistically, given its complex and contentious nature. In order to best comprehend the composite interactions within the expansion of German control over Africa, Gilles Deleuze and Félix Guattari’s theory of deterritorialization will provide the interpretative framework. This analysis begins by grappling with the notion of deterritorialization and then relates the theory to the social, cultural, economic and political manifestations of German colonial expansion. By taking a broad perspective upon the diverse articulations of power in Africa, the multiple elements of colonial control and resistance are manifest. In conclusion, this study finds difference, syncretism and negotiation between German and African to determine the history of German colonialism in Africa.

This thesis investigates in which ways Samuel R. Delany’s novel Hogg challenge the discourse of normality as stipulated, supported and maintained by the capitalist Oedipal repression of desire. Drawing from Deleuze and Guattari’s theory of the Anti-Oedipus, this thesis explores how Deleuze and Guattari’s notion of desire as a free and productive force can be seen as a disruptive element in a society that relies on repression of the subject for its stability. Furthermore, this thesis explores how the novel questions the understanding of civilisation being dependent on the individual’s submission to the Oedipus triangulation and in extension the Oedipal capitalist separation between the public and the private sphere. Ultimately, the main argument claims that Oedipal repression of desire only allows desire to invest in a restricted number of representations, making other identities than the heteronormative suspicious or invisible.  Hogg depicts a society where capitalism commodifies everything, and need the Oedipal subject to ensure its stability. The characters in the novel that do not subject themselves to the capitalist discourse escape the subjection to the Oedipal triangulation, and are thus free to invest their desire in any way they choose, primarily in non-heterosexual and salirophiliac activities. These characters can be seen as schizoid subjects that are constantly threatening to expose the fragility of the social structure by embodying a contrast to the hegemonic discourse and therefore constantly question its authority as main creator of reason and reality.

This study of Alain Robbe-Grillet’s first four published novels seeks to examine the manifestations of four different philosophical concepts in these works. Each novel will be taken as a primary example of Robbe-Grillet’s interrogation of either time, space, difference or repetition. The title of this work, ‘Philosophical Conceptions of Time, Space, Difference and Repetition in the Early Novels of Alain Robbe-Grillet’, as apparently uncomplicated as it is, is useful not only for directly implicating the topics to be examined, but also for what it does not directly allude to. By making reference neither to Robbe-Grillet’s involvement in the movement of the Nouveau Roman nor the theoretical ideas he developed, the title demonstrates one of the main approaches employed here; for Robbe-Grillet’s novels will be examined first and foremost for the textual qualities they exhibit, and will not be tested against the author’s statements, as is most often the case in studies of Robbe-Grillet. When examining these novels, we will thus neither support our study with quotations from Robbe-Grillet’s many interviews and public statements, nor concern ourselves with the apparent objectivity or subjectivity of the novels’ narrators, nor will we base our examinations of the philosophical concepts found in the novels on questions of subjectivity or objectivity. It will become clear throughout our work that Robbe-Grillet’s novels, particularly the early novels that are the focus of this work, have been very well researched and from many different perspectives, yet in spite of the proliferation of texts dealing with these novels certain standard readings have evolved that impinge on the advancement of our understanding of Robbe-Grillet’s complex works. We will argue that this is precisely because these readings actually negate the multiple interpretations that the novels demand and that these standardised readings therefore work as fixed central points around which almost all analyses of the novels revolve. It is thus the aim of this work to complicate these dominant readings by engaging with the ways in which the novels both offer and deny different interpretations, a strategy that ultimately results in the impossibility of a sole fixed reading. In choosing this approach to study the novels, we wish to concentrate solely on the non-representative aspects of these novels. That is to say, the novels will not be treated here, as they are by many critics, for the way they present themselves on the surface as merely concerned with an interrogation of narrative strategies, characterisation or with an application of Robbe-Grillet’s theoretical modus operandi. Rather we will argue that the texts simultaneously invite a deeper reflection on philosophical concepts. The possibility the novels offer to consider the four philosophical concepts that are the focus of this study will be remarked by the novels’ continual engagement with these ideas so as to suggest finally the opportunity of conceiving of these concepts in a literary discourse. Thus, the philosophical concepts which will be deployed in examining Robbe-Grillet’s novels aim to elucidate not strict equivalences between a given concept and its expression in the novel, but rather the ways in which the novels themselves can be seen to propose their own conceptions of these philosophical notions. Thus, each of these chapters will ostensibly deal with a particular philosophical notion, yet they can be seen to work towards a similar shared goal; for each section of this study will propose that it is impossible to isolate a single unifying thesis or central controlling identity through which the texts can be examined. Instead, we will suggest that the novels are governed by a logic of difference in itself, a philosophical notion which, as we will see throughout this work, operates outside of the notion of identity and which favours fluid, unstable and continuously evolving relationships of its constituent parts.

Thesis (Ph. D.)--Duquesne University, 2004. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 117-118).

This study seeks to understand the forces initiating and sustaining colonialism, specifically the German colonial expansion in Africa. The history of this colonialism, and the relations between Germany and Africa, is difficult to understand holistically, given its complex and contentious nature. In order to best comprehend the composite interactions within the expansion of German control over Africa, Gilles Deleuze and Félix Guattari’s theory of deterritorialization will provide the interpretative framework. This analysis begins by grappling with the notion of deterritorialization and then relates the theory to the social, cultural, economic and political manifestations of German colonial expansion. By taking a broad perspective upon the diverse articulations of power in Africa, the multiple elements of colonial control and resistance are manifest. In conclusion, this study finds difference, syncretism and negotiation between German and African to determine the history of German colonialism in Africa.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-01-26T20:29:41Z No. of bitstreams: 1 JessicaCassiaBarbosa_DISSERT.pdf: 1526571 bytes, checksum: ed4faf83a7e7b12d5f3269d828b4ae98 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-01-29T21:19:09Z (GMT) No. of bitstreams: 1 JessicaCassiaBarbosa_DISSERT.pdf: 1526571 bytes, checksum: ed4faf83a7e7b12d5f3269d828b4ae98 (MD5) / Made available in DSpace on 2016-01-29T21:19:09Z (GMT). No. of bitstreams: 1 JessicaCassiaBarbosa_DISSERT.pdf: 1526571 bytes, checksum: ed4faf83a7e7b12d5f3269d828b4ae98 (MD5) Previous issue date: 2014-11-07 / Discute-se no presente trabalho o pensamento pol?tico do fil?sofo franc?s Gilles Deleuze (1925 ? 1995), a partir dos conceitos de menor/maior, pois, atrav?s deles, a filosofia de Deleuze produz problem?ticas pertinentes para pensar a pol?tica e suas formas. N?o s? os conceitos de maior/menor, mas o conceito de devir, no modo de devir-menor marca a proposi??o do que poder?amos chamar de uma proposta propriamente deleuziana para a pol?tica. Sendo assim, o objetivo do presente trabalho ? expor a maneira de uma poss?vel pol?tica do devir, e de uma ?tica da luta a ela associada. Estudar o pensamento pol?tico de Deleuze hoje ? n?o abdicar de um pensamento pol?tico que reconhece as singularidades e abra?a a luta pol?tica n?o como revolu??o totalizante, mas como resist?ncia. A an?lise dos conceitos de maior/menor, e do devir na forma de devir-menor mostra-se como proposi??o pol?tica necess?ria no contexto atual. / This work is on the political thought of the French philosopher Gilles Deleuze (1925 ? 1995) taking the concepts of major/minor as starting point, since by them the deleuzian philosophy produces significant approaches to think politics and its forms. Not only the concepts of major/minor, but also the concept of becoming, in the mode of becoming-minor, marks the proposition, as we could tell, a properly deleuzian political philosophy. Thus, this work attempts to expose the possible form of this politics and of a fight ethic associated to it. To study the Deleuze political thought today is not to abdicate of a political thought that recognizes the singularities and embraces the political fight not as a totalizing revolution, but as resistance. The analyses of the concepts of major/minor, and the becoming shows itself as necessary in the political proposal in the present context

Submitted by Daniella Sodre (daniella.sodre@ufpe.br) on 2015-04-13T14:32:06Z No. of bitstreams: 2 DISSERTAÇÃO José Patrício Sobrinho.pdf: 9134602 bytes, checksum: cf52b13dac3e57b47e4b7e6ecaea23a5 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-04-13T14:32:06Z (GMT). No. of bitstreams: 2 DISSERTAÇÃO José Patrício Sobrinho.pdf: 9134602 bytes, checksum: cf52b13dac3e57b47e4b7e6ecaea23a5 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2014-05-06 / A presente dissertação tem como objeto de estudo o percurso de criação, em artes visuais, de José Patrício. Trata-se de uma reflexão do artista sobre seu próprio trabalho, expressa em uma narrativa do processo criativo que parte dos primeiros experimentos com a gravura e o papel artesanal, passa pelo encontro com o objeto, até chegar aos trabalhos com dominós montados no chão, com ênfase na obra Ars combinatoria. Ao abordar esses trabalhos, ressaltam-se o processo criador e o potencial expressivo do papel feito à mão e das peças do jogo de dominó, explorado em obras resultantes de investigações guiadas pela experimentação, pela lógica matemática e, ao mesmo tempo, pela ordem sujeita às intervenções do acaso. O estudo considera novas possibilidades de relação interdisciplinar, apoiando-se nos referenciais teóricos estabelecidos pelos filósofos Gaston Bachelard e Gilles Deleuze e pelos críticos de arte Pierre Restany e Paulo Herkenhoff. A maturidade das experimentações e intervenções poéticas resulta em obras que se inserem no contexto de uma poética do Número, revelada em aspectos conceituais e estéticos de que o artista faz uso por meio dos dominós, a saber: produção dialógica do sentido; sínteses cromático-numéricas; múltiplas sequencialidades; jogo, regra e acaso; vazio, ordem e caos.

Submitted by Chaylane Marques (chaylane.marques@ufpe.br) on 2015-03-04T18:42:51Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertaçao André Antônio Barbosa Nostalgia e melancolia nos cinemas de Philippe Garrel e Sofia Coppola.pdf: 1890539 bytes, checksum: 1ed20ec06df3864c87bd0d515e78de46 (MD5) / Made available in DSpace on 2015-03-04T18:42:51Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertaçao André Antônio Barbosa Nostalgia e melancolia nos cinemas de Philippe Garrel e Sofia Coppola.pdf: 1890539 bytes, checksum: 1ed20ec06df3864c87bd0d515e78de46 (MD5) Previous issue date: 2013-02-22 / FACEPE / Este trabalho pretende estudar as práticas artísticas distintas de dois cineastas contemporâneos – Philippe Garrel e Sofia Coppola – enxergando-as, porém, integradas a uma mesma e longa tradição de artistas: aquela que, desde os primórdios do romantismo europeu, tem colocado a melancolia como a força-motriz de seus trabalhos. Nestes, a melancolia frequentemente engendra, como uma espécie de correlato natural, o sentimento de nostalgia. Mas ao contrário do que o discurso crítico habitualmente propõe, a nostalgia dessas obras não é em si conservadora, simplista ou ingênua; não é uma cura paliativa, pacificadora ou solução fácil para a angústia melancólica que surge com a modernidade. A nostalgia aí é, antes, uma forma crítica de fugir de uma atualidade linear insípida ou sensório-motora – de escapar do otimismo do progresso – e ir buscar algo de mais profundo e mais complexo em lençóis e circuitos distantes do passado: a possibilidade de, nos termos de Walter Benjamin, uma experiência verdadeira (Erfahrung). O corpus principal da pesquisa consiste, por um lado, em dois longas-metragens de Garrel que, nostalgicamente, evocam o fim dos anos 60: Sauvage innocence (2001) e Les amants réguliers (2005). No primeiro, Garrel interessa-se por capturar a aura distante e fantasmagórica daquela época, enquanto que no segundo ele a enxerga não como um ponto mensurável num correr mecânico do tempo, mas como uma, nos termos de Deleuze, idade do mundo. Por outro lado, em Maria Antonieta (2006), Coppola não apenas justapõe as idades mas faz com que elas coexistam e se relacionem mais diretamente, através de um anacronismo ao mesmo tempo dissonante e nostálgico que conecta o presente, os anos 80, o século XVIII, um vago e edênico passado ainda mais anterior e a frágil esperança de um caminho futuro. O quadro fundamental de referências teóricas das análises compôs-se, por um lado, pelo pensamento de Benjamin, sobretudo pelo modo como ele relaciona distância temporal, experiência e arte; por outro lado, pelos sistemas bergson-deleuzianos de se pensar, por meio de distinções de natureza e não apenas de grau, o tempo e o movimento, o espírito e a matéria; e, por fim, pela ideia de Jacques Racière de todo um novo regime – e não apenas uma mera mudança de “estilo” ou de “escola” artística – que surge com a modernidade estética e cujas formas de funcionamento ainda determinam as operações e estratégias cinematográficas aqui observadas.

Uppsatsen undersöker möjligheten till en rhizomatisk litteraturvetenskap, i enlighet med Gilles Deleuzes (och i viss mån Félix Guattaris) distinktioner mellan träd-tänkande och rhizom-tänkande, och mellan det släta och det räfflade, och strävar i detta efter att dels vara en teoretisk diskussion kring möjligheten till en sant rhizomatisk litteraturvetenskap, dels efter att själv vara ett praktiskt exempel på en rhizomatisk uppsats. Båda ansatserna hamnar på olika sätt i slutsatsen att en rhizomatisk litteraturvetenskap är svår (eller omöjlig) att uppnå, men att den för den sakens skull inte nödvändigtvis är mindre eftersträvansvärd.

Deleuze’s work is certainly heterogeneous. Throughout his life he managedto deal with an amazing variety of subjects: history of philosophy, psychoanalysis, politics, literature, painting, cinema, among others. However, the author of A Thousand Plateaus did not address a particularly relevant area for the twentieth century configuration –photography. This absence is unsettling not only because of the cultural importance of photography, but also because his reflections concerning the concept of image are a recurrent theme throughout his work. This research will not seek to determine the reasons why Deleuze did not explore the field of photography, because we believe that a question like this is, to say the least, idle. On the contrary, we will try to prolong his reflections in order to unfold the intuitions found in his philosophy that may help us to address the issue of the photographic. In this sense, our objective will be to develop a taxonomy of the photographic image from the distinction of two main types: the transparent image and the opaque image. / La obra de Deleuze es ciertamente heteróclita. A lo largo de su vida se ocupó de una variedad de temas sorprendente: historia de la filosofía, psicoanálisis,política, literatura, pintura, cine, entre otros. Sin embargo, un territorio de singular relevancia para la configuración del siglo XX no fue abordado por el autor de Mil mesetas: la fotografía. Esta ausencia es inquietante, no solo debido a la importancia cultural de la fotografía, sino también porque las reflexiones en torno a la imagen son recurrentes a lo largo de toda su obra. La presente investigación no buscará determinar las razones por las que Deleuze no exploró el ámbito de lo fotográfico, pues creemos que una pregunta como esta es, por decir lo menos, ociosa. Intentaremos, en una dirección diferente, prolongar sus reflexiones con la finalidad de desplegar las intuiciones presentes en su filosofía que nos puedan ayudar a abordar la problemática de lo fotográfico. En este sentido, nuestro objetivo será elaborar una taxonomía de la imagen fotográfica a partir de la distinción de dos tipos fundamentales: la imagen transparentey la imagen-opaca.