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Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique. Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative. / With nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization. The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique. To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines.

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Submitted by Maria Fernanda Rios Cavalcanti (mfcavalcanti@gmail.com) on 2012-03-26T12:33:18Z No. of bitstreams: 1 O Grau Zero da Organização- Dissertação Maria Fernanda Rios Cavalcanti.pdf: 719721 bytes, checksum: decde30f15df56e6b92594c10ee99d42 (MD5) / Approved for entry into archive by Gisele Isaura Hannickel (gisele.hannickel@fgv.br) on 2012-03-26T12:51:13Z (GMT) No. of bitstreams: 1 O Grau Zero da Organização- Dissertação Maria Fernanda Rios Cavalcanti.pdf: 719721 bytes, checksum: decde30f15df56e6b92594c10ee99d42 (MD5) / Made available in DSpace on 2012-03-26T12:57:20Z (GMT). No. of bitstreams: 1 O Grau Zero da Organização- Dissertação Maria Fernanda Rios Cavalcanti.pdf: 719721 bytes, checksum: decde30f15df56e6b92594c10ee99d42 (MD5) Previous issue date: 2012-02-26 / O objetivo do presente trabalho é reconstituir o conceito de grau zero da organização formulado por Robert Cooper a partir de um diálogo entre os escritos desse autor e a filosofia de Gilles Deleuze. Para alcançar este objetivo, primeiramente explicitaremos nosso compromisso epistemológico com o pós-estruturalismo, buscando situar este fenômeno do pensamento em termos de seu posicionamento nos estudos organizacionais. Nesta seção teremos o primeiro contato com o pensamento de Deleuze e Robert Cooper e, de antemão, apresentaremos a noção de grau zero como um conceito capaz de levantar possíveis pontos de convergência/divergência presentes nos trabalhos destes autores bem como de suscitar uma problematização do conceito de organização em seu nível ontológico e a própria ruptura do pós-estruturalismo com o estruturalismo no âmbito do estudo das organizações. Na segunda parte do trabalho analisaremos os escritos de Robert Cooper buscando realizar um apanhado geral de sua obra (que tratou do tema da organização), situaremos o conceito de grau zero da organização na mesma justificando sua escolha como o ponto de partida para o diálogo que buscaremos traçar entre Cooper e Deleuze. Após isso, faremos uma leitura ampla da filosofia deleuzeana e buscaremos compreender alguns de seus elementos fundamentais para, então, aproximar o pensamento de ambos os autores e desenhar possíveis aproximações e/ou afastamento. Foi possível identificar aproximações entre os pensamentos de Deleuze e Cooper: por um lado, destacamos que a primazia do devir, a proposta de um pensamento aberto e plural, uma preocupação com a linguagem e com materialidades, bem como fortes traços de influências vindas do estruturalismo e da psicanálise são pontos de aproximação marcantes entre os pensamentos destes autores. Por outro lado, também destacamos alguns possíveis pontos de divergência: a crítica à representação enquanto instância de limitação/negação; diferentes concepções de inconsciente (o inconsciente freudiano em Cooper/forjamento de noção própria do inconsciente em Deleuze); e, finalmente, no engajamento político da visão crítica proposta por seus trabalhos. Destacamos, finalmente, que a noção de grau zero da organização de Cooper ainda é passível de questionamentos quando deparada com a crítica ao estruturalismo e à representação conforme presente na filosofia de Deleuze. Concluímos que a filosofia de Deleuze impõe a necessidade reconstituir este conceito de forma a fazer com que ele afaste-se da possibilidade de ser tomado como uma visão estruturalista (uma esfera meramente linguística) e/ou oposicional (o grau zero enquanto mera desorganização) da organização.

Föreliggande uppsats är en analys av Maggie Nelsons Bluets (2009), med fokus på begär. Texten beskriver en kvinna som är förälskad i färgen blått. Den innehåller även minnen från en relation som berättarjaget haft. Syftet med uppsatsen är att visa på textens olika uttryck för begär och tolka dessa för att kunna fördjupa läsningen av texten. Jag kommer att undersöka vilka begär som gestaltas och vilka funktioner dessa har, samt på vilka sätt som begären i Bluets ger möjlighet till en feministisk förståelse av begärsbegreppet. Begärsteman är vida undersökt i litteraturen. Många gånger har psykoanalytiska teorier använts för analys, inte minst Lacan och konceptualiseringen av begär som en brist. I denna uppsats används dels Lacans teori och dels en vidareutveckling av te orin som gjorts av Deleuze och Guattari, där begär inte beskrivs som konstituerat av en brist, utan som ett flöde. Studien visar att på tre huvudsakliga begärsteman i Bluets: begäret efter det förlorade kärleksobjektet, begäret efter det kroppsliga/sexuella och begäret efter färgen blå. Dessa analyseras utifrån aspekterna det betecknande och det betecknade, dikotomin man-kvinna, det blåa begärets funktion samt romanens form. Studien visar på att det är möjligt att göra en lacansk läsning av boken, som en illustration av sorgen orsakad av det förlorade kärleksobjektet och det blåa som en symbol för denna sorg. Men analysen öppnar också upp för en annan förståelse av begär: begäret som en maskin, som ger upphov till ett mer mångfaldigt kvinnligt subjekt, som står i förbindelse med en rad andra personliga och opersonliga maskiner. Ett begär som genererar kreativitet och produktion utanför subjektets fantasier.

本文大致分為兩部分，第一部分從羅蘭・巴特談論照片的專書《明室》開始，以刺點與知面的兩種觀看為基礎，討論在刺點的觀看裡觀看者的內部變化，引入德勒茲將身體視為流變的存在的觀點，將羅蘭・巴特視為偶發事件的刺點與德勒茲的「事件」概念接軌，說明刺點的觀看中的無意義，以及觀看者在觀看中的流變。第二是關於刺點中我們同時感受到的純粹感覺，這部分以德勒茲談論繪畫時說到的直接於身體上作用的感覺為基礎，以及在影像上製造感覺形象的方法。並以攝影師荒木經惟的作品和創作方式為例，說明攝影具有拍攝感覺的優越性。並以此歸類出一條與一般紀錄社會共識和知識的攝影不同的，拍攝感覺和無意義的攝影路線。 / This thesis is mainly divided into two portions: The first one begins with the discussion of La Chambre Claire by Roland Barthes, in which he bases the two ways of seeing upon punctum and studium. While elaborating on the inner becoming of the spectator in Barthes’ notion of punctum, I complicate this idea with Gilles Deleuze’s concept of becoming. Deleuze stresses on the body as the event of the being of becoming, which can be connected to Barthes’ punctum as a contingent event. The combination of Barthes and Deleuze helps explicate on the nonsense inherent in punctum and the process of becoming inside the spectator. The second is concerned with the pure sensation integral to punctum. I appropriate Deleuze’s insight on how art affects directly on the body to produce sensation in order to discuss how photography can create the Figure. And we through the illustrations of Araki Nobuyoshi’s photo images and his creative method. In conclusion, I propose that photography is the superior form in capturing sensation, and suggest that, photography has another function, which different from the function of documenting social consensus and knowledge, it does function to capture sensations and nonsense.

This paper examines how Gilles Deleuze critically transforms the theory of thought from representation to production, by way of finding thought’s genetic conditions, in his synthesis of time and ideal synthesis in Différence et répétition. I focus on Deleuze’s critique of subject, time, and identity, and on how he tries to establish a purely positive synthesis capable of producing the absolutely new. Lastly, I discuss Deleuze’s own image of thought that rises from his critique, as simulacrum.

The goal of this thesis is the investigation of the narratives of the originally Indian cycle of tales of the Enchanted Corpse (Sanskrit: Vetālapañcavinśati, Tibetan: ro sgrung, Mongolian: siditu' kegu'r-un u'liger) in their translation and cultural transmission to Tibet and Mongolia. Primarily, this work addresses these tales from a theoretical standpoint based on the writings of French philosopher Gilles Deleuze, whose idea of "nomadology" appears highly suitable for investigating the striking differences of all of the various linguistic mutations. In particular, Deleuze's analysis of language, nomadic space, "becoming" (devenir), the body without organs (corps sans organs), speech and silence, can be very effectively applied to the interpretation of these tales in the new cultural environments of Mongolia and Tibet.

The topic of my diploma thesis is a comparison of speculation about a film from two perspectives. Firstly, it deals with the approach of Jan Mukařovský, a Czech structuralist, who was one of the first in the Czech context to explore the time concept in a film. Secondly, it considers the approach of Gillese Deleuze, who was accredited with the new view on the time-image in a film, however, much later than Jan Mukařovský. The aim of the paper is to explain the way the approaches of Mukařovský and Deluze relate to other approaches of thinking about time in films, the influence of other concepts of their time that they both theoretically based their views on, as well as specifying the films that became the starting points of exploring the time in films. The method of comparison is divided into three aspects, as three comparison levels.

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