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.

<div>Compelled by converging research in the natural sciences suggesting the stratigraphic nature of time, I argue for a temporal approach to the venerable problem of synthesis in evolutionary theory. Geneticist and pioneer of the Modern Synthesis (MS), Theodosius Dobzhansky (1900-1975), constructed one of the most powerful synthesis arguments in the history of evolutionary biology in the classic “Nothing in Biology Makes Sense Except in the Light of Evolution” (1973). I argue that nothing in evolution makes sense except in the light of time, such that the problem of evolutionary time plays a powerful role in making sense of the conceptual architecture of the Extended Evolutionary Synthesis (EES). The EES offers a strong alternative to the temporal and causal idealizations operating at the hardened core of the MS. I create the philosophical concept of stratigraphic time to strengthen connections between the four problem agendas or “causal catchalls” structuring the new synthesis: (1) developmental plasticity, (2) developmental bias, (3) inclusive inheritance, and (4) niche construction (Laland 2015 et al.). The dissertation is driven by two critical arguments (Chapters 1-3) concerning the subordination of time to process, and two constructive arguments (Chapters 4 and 5) concerning the nature of evolutionary time, which together attest to the conceptual strength of a temporal approach to the multiplicity of evolutionary problems pursued by the EES, and especially the connections between them. </div><div><br></div><div>Chapter 1, “Embracing the Problematic Structure of the Extended Evolutionary Synthesis,” explicates and evaluates the core assumptions of the EES in contrast with those of the MS, which has served as the dominant conceptual framework for evolutionary science and theory since the early twentieth century. Chapter 2, “Deep Time: The Forgotten Frontier,” critically argues that evolutionary time has been subordinated to evolutionary process, that the problem of evolutionary time must be revived after its eclipse at the origin of evolutionary theory, especially due to Darwin’s unnecessarily strict commitments to gradualism, adaptationism, and to the preeminence of natural selection. Chapter 3, “The Chronometric Subordination of Time to Movement in Philosophy, Science, and Society,” critically argues that the subordination of evolutionary time to process is primed by the chronometrically facilitated subordination of time to movement, what mathematician, physicist, and philosopher of science Henri Poincaré (1854-1912) called an unconscious opportunism in philosophical and scientific thought. The constructive arguments unfolded in Chapter 4, “The Continuous Variation of Evolutionary Contingency,” and Chapter 5, “Stratigraphic Time: The Synthesis of Deep and Developmental Rhythms,” attempt to respect causal thinking while conceptualizing evolutionary processes not according to causal laws but rather according to passive and active temporal syntheses (or modes of repetition), effectively delimiting causal thinking to a provisional conceptualization. Stratigraphic time enables conceptualization of the multiplicity of evolutionary process, driven by a new concept of evolutionary contingency. I argue that the roles of chance and causation in the EES are strengthened by concepts of difference and repetition, akin to the conceptual roles played by arrows and cycles of time in the formation of geological and evolutionary thought. These critical and constructive arguments are guided by Gilles Deleuze’s philosophy of time, which he conceptualizes under the rubric of repetition. The three passive and active temporal syntheses, or modes of repetition, Deleuze creates to think the nature of repetition provide conceptual tools for evolutionary synthesis through stratigraphic time. </div><div><br></div>

This dissertation is based on the observation that Herman Melville's "Bartleby, the Scrivener" has become a popular reference in contemporary culture. Not only in the field of literary scholarship but also in the realm of art, political theory and philosophy, it is employed as an example of authentic resistance to power, a counter-intuitive politics that finds its strength in withdrawal, inaction, and inscrutability. The thesis examines the reasons and motives that drive literary scholars, artists and philosophers to read, interpret and use the story in such a way. It does so by analyzing the nature of and reoccurring patterns in Bartleby Industry, the enormous bulk of academic scholarship devoted to the story. It observes how the story is made use of outside of literary scholarship by disciplines, such as art and philosophy, that are not primarily concerned with the literary complexity of the story but use it to work on their own problems of politics and ethics. It pays special attention to its popularity among influential Postmarxist philosophers, namely Slavoj Žižek, Giorgio Agamben and Gilles Deleuze. As the presence of "Bartleby" in the realm of philosophy has to do with a particular function literature performs in that field, in these chapters "Bartleby" becomes more of a guiding thread in order to...

The main topic of this diploma thesis is the relationship of movie and human perception. Movie is a purely technical medium that moves images for the first time. The starting point of the work is the book written by French cultural theorist Paul Virilio and his reflections on film and technology. Virilio's position is negative in many ways due to cinematography. He blames technology for horrors inflicted during world wars. Cinematography is guilty of a revolution of perception that leads to the decomposition of the vision and the disintegration of the classical dimensions of space and time. In my work Virilio's views are confronted with the reflections of Virilio's contemporary, also the French theorist, Gilles Deleuze. Deleuze understands movie in many ways differently than Virilio. Also his opinion on the technique is quite different. The movie after World War II is a medium that no longer attempts to imitate natural perception. Such film can cause a shock to the audience. This shock opens up new possibilities of thinking and perception, and the viewer gains the opportunity to achieve a specific spiritual life through a movie.

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