Spelling suggestions: "subject:"heterotopy"" "subject:"heterotope""
1 |
Heterotopias menores: delirando a vida como obra de arte / Minor heterotopias: delining life as a work of artAdriana Rosa Cruz Santos 31 March 2011 (has links)
Esta tese se propõe a explorar as relações entre arte, loucura e polis a partir da aposta de que a vida possa ser permanentemente criada como obra de arte aberta às variações e diferenciações inerentes ao viver. Tal procedimento estético demanda a constituição de espaços-tempo heterotópicos, capazes de simultaneamente engendrar e abrigar contraposicionamentos às políticas de sujeição e controle contemporâneos. Para tanto, problematizamos as instituições arte, loucura e polis, extraindo, dessas formas estratificadas, virtualidades que possibilitem a emergência de modos menores, fazendo-as variar. Partimos da polis, dimensão imaterial e coletiva das cidades, ao mesmo tempo máquina abstrata de engendramento das formas que a habitam, a deslocam, a produzem e forma que a vida assume nesses territórios, para visibilizar como se engendram loucuras e artes de viver. Partimos de fragmentos históricos, literários e biográficos para pensar outros modos de habitar e tecer trajetórias na cidade, instando a tessitura de relações de criação de si e do mundo, por meio da invenção de espaços outros entre a loucura e a arte. Da loucura pensada por Foucault como positividade domesticada pelo saber médico, instauramos séries da experiência trágica ao fora e, deste, ao fluxo esquizo, proposto por Deleuze e Guattari para finalmente chegar a uma loucura menor, loucura que é antes dissolução das formas identitárias e estabilizadas e que materializa o delírio como dispositivo estético de criação de mundos. Finalmente, chegamos à arte, deslocando-a da dimensão de criação de objetos estéticos, para pensá-la como dimensão imanente ao próprio viver. Neste ponto nos valemos de Nietzsche, Deleuze e Foucault para pensar a vida como experimentação que resiste às armadilhas que a aprisionam em modelos préestabelecidos, vida que se cria a cada instante como obra de arte. Ativando, portanto, uma arte menor, arte de viver, damos corpo à proposição foucaultiana de uma estética da existência, procedimento por meio do qual se cria a si mesmo ao criar-se outro nas relações com o mundo. Procedimento, portanto, estético, ético e político. Instabilizadas e problematizadas as formas iniciais polis, loucura e arte , tomamos os casos Bispo do Rosário e Moacir para investigar, em suas trajetórias, como é possível do entrelaçamento entre elas, se constituírem estilizações da existência, de forma a fazer derivar o real e ficcionar modos de viver. Por fim, recorremos à poesia, delírio das palavras para ensaiar possibilidades de criação de espaços-tempo singulares, heterotopias menores, espécies de utopias efetivamente realizadas, como afirma Foucault, que nos permitam fazer da vida obra de arte. / This thesis aims to explore the relationship between art, madness and polis from the bet that life may be permanently established as a work of art opened to variations and differences inherent in living. This cosmetic procedure demands the constitution of heterotopic space/time, able to simultaneously engender and shelter counterstance to the contemporary control and subjection policies. For this we discuss the institutions art, madness and polis, extracting of these stratified or stored forms, virtualities that make possible the emergence of minor modes, making them vary. We start with polis, immaterial and collective dimension of the cities, at the same time abstract machine of engendering forms that inhabit it, moving it and producing the way life take over these territories, to make visible how madness and art of living engender each other. We started from biographical, historical and literary fragments, to think about other ways of inhabiting and weaving trajectories in the city, urging a fabric of relations of self and word creation through the invention of other spaces between madness and art. From madness thought by Foucault as domesticated positivity by medical knowledge, we established series from tragic experience from outside, and, from this to the schizo flow, proposed by Deleuze and Guattari -to finally get a minor madness, madness that is first dissolution of identity and stabilized forms and that materializes delirium as aesthetic device of word creation. Finally, we get the art, moving it from the aesthetic object creation dimension, to think of it as an immanent dimension of self-living. At this point we make use of Nietzsche, Deleuze and Foucault to think life as experimentation that resists the traps that imprison it in pre-established models, life that create itself every moment as a work of art. Activating therefore, a minor art, art of living, embodying foucaultian proposition of an aesthetics of existence, procedure whereby it creates itself when creates another one in the world relationships. Therefore, aesthetics, ethical and political procedure. Unstabilized and discussed inicial forms polis, madness and art -, we take cases of Bispo do Rosário e Moacir, to investigate their trajectories, how it may be possible from their interlace, constituting stylizations of existence so that it makes derive from real and put ways of living into fiction. Finally, we turn to poetry, delirium of words, to rehearse possibilities of singular space/time creation, minor heterotopics, effectively performed utopia species, like Foucault says, allow us to make life a work of art.
|
2 |
Heterotopias menores: delirando a vida como obra de arte / Minor heterotopias: delining life as a work of artAdriana Rosa Cruz Santos 31 March 2011 (has links)
Esta tese se propõe a explorar as relações entre arte, loucura e polis a partir da aposta de que a vida possa ser permanentemente criada como obra de arte aberta às variações e diferenciações inerentes ao viver. Tal procedimento estético demanda a constituição de espaços-tempo heterotópicos, capazes de simultaneamente engendrar e abrigar contraposicionamentos às políticas de sujeição e controle contemporâneos. Para tanto, problematizamos as instituições arte, loucura e polis, extraindo, dessas formas estratificadas, virtualidades que possibilitem a emergência de modos menores, fazendo-as variar. Partimos da polis, dimensão imaterial e coletiva das cidades, ao mesmo tempo máquina abstrata de engendramento das formas que a habitam, a deslocam, a produzem e forma que a vida assume nesses territórios, para visibilizar como se engendram loucuras e artes de viver. Partimos de fragmentos históricos, literários e biográficos para pensar outros modos de habitar e tecer trajetórias na cidade, instando a tessitura de relações de criação de si e do mundo, por meio da invenção de espaços outros entre a loucura e a arte. Da loucura pensada por Foucault como positividade domesticada pelo saber médico, instauramos séries da experiência trágica ao fora e, deste, ao fluxo esquizo, proposto por Deleuze e Guattari para finalmente chegar a uma loucura menor, loucura que é antes dissolução das formas identitárias e estabilizadas e que materializa o delírio como dispositivo estético de criação de mundos. Finalmente, chegamos à arte, deslocando-a da dimensão de criação de objetos estéticos, para pensá-la como dimensão imanente ao próprio viver. Neste ponto nos valemos de Nietzsche, Deleuze e Foucault para pensar a vida como experimentação que resiste às armadilhas que a aprisionam em modelos préestabelecidos, vida que se cria a cada instante como obra de arte. Ativando, portanto, uma arte menor, arte de viver, damos corpo à proposição foucaultiana de uma estética da existência, procedimento por meio do qual se cria a si mesmo ao criar-se outro nas relações com o mundo. Procedimento, portanto, estético, ético e político. Instabilizadas e problematizadas as formas iniciais polis, loucura e arte , tomamos os casos Bispo do Rosário e Moacir para investigar, em suas trajetórias, como é possível do entrelaçamento entre elas, se constituírem estilizações da existência, de forma a fazer derivar o real e ficcionar modos de viver. Por fim, recorremos à poesia, delírio das palavras para ensaiar possibilidades de criação de espaços-tempo singulares, heterotopias menores, espécies de utopias efetivamente realizadas, como afirma Foucault, que nos permitam fazer da vida obra de arte. / This thesis aims to explore the relationship between art, madness and polis from the bet that life may be permanently established as a work of art opened to variations and differences inherent in living. This cosmetic procedure demands the constitution of heterotopic space/time, able to simultaneously engender and shelter counterstance to the contemporary control and subjection policies. For this we discuss the institutions art, madness and polis, extracting of these stratified or stored forms, virtualities that make possible the emergence of minor modes, making them vary. We start with polis, immaterial and collective dimension of the cities, at the same time abstract machine of engendering forms that inhabit it, moving it and producing the way life take over these territories, to make visible how madness and art of living engender each other. We started from biographical, historical and literary fragments, to think about other ways of inhabiting and weaving trajectories in the city, urging a fabric of relations of self and word creation through the invention of other spaces between madness and art. From madness thought by Foucault as domesticated positivity by medical knowledge, we established series from tragic experience from outside, and, from this to the schizo flow, proposed by Deleuze and Guattari -to finally get a minor madness, madness that is first dissolution of identity and stabilized forms and that materializes delirium as aesthetic device of word creation. Finally, we get the art, moving it from the aesthetic object creation dimension, to think of it as an immanent dimension of self-living. At this point we make use of Nietzsche, Deleuze and Foucault to think life as experimentation that resists the traps that imprison it in pre-established models, life that create itself every moment as a work of art. Activating therefore, a minor art, art of living, embodying foucaultian proposition of an aesthetics of existence, procedure whereby it creates itself when creates another one in the world relationships. Therefore, aesthetics, ethical and political procedure. Unstabilized and discussed inicial forms polis, madness and art -, we take cases of Bispo do Rosário e Moacir, to investigate their trajectories, how it may be possible from their interlace, constituting stylizations of existence so that it makes derive from real and put ways of living into fiction. Finally, we turn to poetry, delirium of words, to rehearse possibilities of singular space/time creation, minor heterotopics, effectively performed utopia species, like Foucault says, allow us to make life a work of art.
|
3 |
Fizeram-me corpo, fiz-me heterotopia: um estudo das heterotopias corporais dos personagens queers no cinema de Pedro Almodóvar / They made me body, I did heterotopia: a study of the body heterotopias of the queers characters in the cinema of Pedro AlmodóvarOliveira, Mayllon Lyggon de Sousa 16 March 2018 (has links)
Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-05-07T11:38:27Z
No. of bitstreams: 2
Dissertação - Mayllon Lyggon de Sousa Oliveira - 2018.pdf: 2383708 bytes, checksum: 704ba622064357cd91a655907e80a0e0 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T12:50:44Z (GMT) No. of bitstreams: 2
Dissertação - Mayllon Lyggon de Sousa Oliveira - 2018.pdf: 2383708 bytes, checksum: 704ba622064357cd91a655907e80a0e0 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-07T12:50:44Z (GMT). No. of bitstreams: 2
Dissertação - Mayllon Lyggon de Sousa Oliveira - 2018.pdf: 2383708 bytes, checksum: 704ba622064357cd91a655907e80a0e0 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Previous issue date: 2018-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / It is in language that things get a meaning. In it, some verbs are impersonal and have no
subject. This implies not having someone to agree with, like the verb "to do”. All verb
indicates an action, an act in constitution. This is the case of this study: a process of
"feature", a becoming-another, a becoming-body. The materialization of one corpus, about
which to tell about the body's relations with the world and with others. This constitution will
be made in four main actions: did, undoing, (re) doing and did. Such actions indicate the
disruption of order, to establish estrangement, to inaugurate a new way of seeing and
thinking the body. This dissertation aims to investigate practices, self-care and performativity
in the body constitution of queers characters in the cinema of Pedro Almodóvar. In order to do
so, it appropriates the concepts of subjectivities, practices and care of himself, performativity,
body, heterotopy and, methodologically, uses a deconstructionist perspective and filmic
analysis to perceive the performativity and self-practices of the characters. As a clipping and
object of analysis, we selected the characters Tina and Pablo from Pedro Almodóvar's Law of
Desire (1987). Such characters have polymorphous sexualities, allowing us to perceive how
the processes of self-constitution occur and show perspectives of sexuality subversion. Their
bodies are plastic, flexible, transgressors and indicate an agonistic quest in creating an
aesthetic ethical truth about themselves. In this study, we are interested in discussing the
queer body and how it constitutes a heterotopy, that is, the techniques, the cares and the
practices of the self by which this body subverts the previously determined spaces and
determinations of the body of the relations of power imposed through the device of sexuality
inaugurating counter space. It is against the triple knowledge-power-subject that defines the
device of sexuality that these subjects put themselves. This is because the queer is already an
overlapping of social positions, a displacement to the margin, are boundary and deviant
bodies that are not content to cross the binary divisions but live on the border. To define the
queer body as a heterotopy, is to understand it by subversion of the natural order. It is to see
it in the modification of the spaces and positions of the discourses of normatizing sexuality.
Studying it under this configuration enables the communication to understand it, immersed in
a culture, from traces of an event. It is in this body that cries, that laughs, that makes party
(that is a party) that are locked relations of power and is in them that they transit,
establishing resistances, if doing, being and surviving. / É na língua que as coisas adquirem significação. Nela, alguns verbos são impessoais e não
possuem sujeito. Isso implica em não ter com quem concordar, como o verbo “fazer”. Todo
verbo indica uma ação, um ato em constituição. É o caso desse trabalho: um processo de
“feição”, um devir-outro, um devir-corpo. A materialização de um corpus sobre o qual se
disserta acerca das relações do corpo com o mundo e com os outros. Essa constituição, será
feita em quatro ações principais: fizeram, desfazendo, (re) fazendo e fiz. Tais ações indicam o
rompimento da ordem, para estabelecer um estranhamento, inaugurar uma nova forma de
ver e pensar o corpo. Essa dissertação objetiva pesquisar as práticas, os cuidados de si e as
performatividades na constituição do corpo de personagens queers no cinema de Pedro
Almodóvar. Para tanto se apropria dos conceitos de subjetivação, práticas e cuidados de si,
performatividade, corpo, heterotopia e, metodologicamente, se vale de uma perspectiva
desconstrucionista e de análise fílmica para perceber as performatividades e práticas de si dos
personagens. Como recorte e objeto de análise selecionamos os personagens Tina e Pablo do
filme A lei do desejo (1987) de Pedro Almodóvar. Tais personagens possuem sexualidades
polimorfas, permitindo perceber como se dão os processos de constituição de si e mostram
perspectivas de subversão da sexualidade. Seus corpos são plásticos, flexíveis, transgressores
e indicam uma busca agonística na criação de uma verdade ético estética sobre si mesmos.
Nesse estudo, interessa-nos discorrer sobre o corpo queer e como ele se constitui uma
heterotopia, ou seja, as técnicas, os cuidados e as práticas de si pelas quais esse corpo
subverte os espaços e determinações corporais previamente determinados, das relações de
poder impostas através do dispositivo da sexualidade inaugurando contraespaços. É contra a
tríplice saber-poder-sujeito que define o dispositivo da sexualidade que esses sujeitos se
colocam. Isso porque o queer já é uma sobreposição das posições sociais, um deslocamento
para a margem, são corpos fronteiriços e desviantes que não se contentam em atravessar as
divisões binárias, mas vivem na fronteira. Definir o corpo queer como uma heterotopia é
compreendê-lo pela subversão da ordem natural. É vê-lo na modificação dos espaços e
posições dos discursos da sexualidade normatizadora. Estudá-lo sob essa configuração
possibilita à Comunicação entendê-lo, imerso em uma cultura, a partir de rastros de um
acontecimento. É nesse corpo que chora, que ri, que faz festa (que é festa) que são travadas
relações de poder e é nelas que eles transitam, estabelecendo resistências, se fazendo, sendo
e (sobre)vivendo.
|
4 |
Design social et design d'évènement dans le Sud-Est tunisien : l'hétérotopie de l'espace ksourien. Une recherche-projet. / Social Design and Event Design in South-East Tunisia : Heterotopy of the Ksourian Space. A Project-grounded Research.Ellouze, Nesrine 31 January 2019 (has links)
Le ksar (pluriel 'ksour'), cet espace architectural et patrimonial propre à la culture berbère (amazigh), était destiné autrefois à emmagasiner les biens et les réserves de provisions des tribus semi-nomades du Sud-tunisien qui en étaient propriétaires. Avec le temps et le passage à la modernité, il s’est produit un glissement de valeurs et de significations dans l’environnement social et culturel des populations établies dans ces lieux, provoquant ainsi une menace pour les ksour qui s'en sont trouvés délaissés ou abandonnés. La thèse fait l’hypothèse que le concept d’hétérotopie proposé par Michel Foucault pourrait permettre une lecture de ces sites susceptible d’ouvrir un espace de projet innovant afin de mettre en valeur les ruines des ksour derrière lesquelles, ainsi que le montre l’enquête de terrain que nous y avons conduite, se cachent des conflits institutionnels, sociaux et intergénérationnels. C’est dans une telle perspective, par la mise en œuvre d’une démarche de recherche-projet appuyée sur un projet de design d’événement qui s’est déroulé pendant quatre jours en avril 2018, que nous nous sommes employée à exploiter le gisement d’intelligence collective propre à la dynamique du système des acteurs liés à ce patrimoine archéologique et architectural délaissé et promis sinon à une simple exploitation touristico-économique. Nous croyons que par une telle approche inspirée de l’innovation sociale par le design (ou design social), il sera possible d’assurer aux ksour un avenir durable et culturellement fécond sans dénaturer leur signification et leur richesse historique, anthropologique et patrimoniale. / As an architectural and heritage space peculiar to Berber (Amazigh) culture, the ksar (plural ksour) was used in the past as a granary and storage space by its owners, the local semi-nomadic tribes of Southern Tunisia. With time and the change to modernity, a shift in the socio-cultural values and worldview of the local population led to the neglect or mere abandonment of the ksour. The thesis hypothesizes that the concept of heterotopia coined by Michel Foucault could help provide an interpretation of these sites leading to the opening of an innovative project space that would restore value to the ruins of the ksour, behind which, as highlighted by our field inquiry, there lie institutional, social, and intergenerational conflicts. It is in such prospect, through a project-grounded research approach grounded on an event design project that took place during four days in April 2018, that we ventured to capitalize upon the available collective intelligence resulting from the dynamics of the system of stakeholders connected with this archeological and architectural heritage, otherwise promised to a mere touristic-economic exploitation. We believe that such an approach, consonant with social innovation by design methodologies (or social design), will make it possible to secure a sustainable and culturally fruitful future to the ksour without compromising their historical, anthropological, and patrimonial richness and meaningfulness.
|
5 |
Espaces autres de la littérature. Le patrimoine littéraire à l’œuvre hors le livre / Literary heterotopology. Literary patrimony at work outside of the bookDepoux, Anneliese 06 December 2013 (has links)
À l’origine de cette thèse, une ambition : observer la littérature à travers ses métamorphoses médiatiques, considérer ce qui se joue dans le social pour faire apparaître les représentations du littéraire qui se manifestent dès lors qu’un texte est réédité sous des formes moins académiques que le livre. Saisi par la place occupée par le littéraire dans l’économie symbolique de l’espace public contemporain, notre regard s’est porté sur les pratiques ordinaires de circulation du texte littéraire dans notre quotidien, la « publicité» d’un objet textuel à valeur littéraire en attachant une importance particulière à la scénographie. Nous nous sommes intéressée dans l’espace de la cité à des espaces et des tâches qui participent de notre quotidien : le transport, le commerce, le loisir. Soit trois expériences situées du littéraire : le métro, l’espace marchand et l’espace muséal.Observant les déplacements du littéraire dans l’espace commun, nous avons examiné des situations de communication qui disputent la valeur qu’on reconnaît au littéraire dès lors qu’il se trouve publicisé ailleurs que dans l’espace livresque. Le cadre théorique de cette recherche est l’occasion de réinvestir la notion d’objet littéraire, regardant les régimes discursifs variés de son inscription dans le social à travers la dimension expositive. La partie empirique de cette recherche considère le déploiement de l’espace littéraire et envisage la question de la littérarité in situ dans la polyphonie urbaine. Au travers de ces incarnations scripturales, il s’agit d’étudier les formes d’une autre consommation de l’objet littéraire et les représentations qui s’instituent dans le geste éditorial hors le livre. / At the heart of this dissertation is the objective to observe literature through its « media metamorphoses », with a particular emphasis on the literary representations that appear in the social realm once a text assumes a form less academic than that of a book. Intrigued by the space occupied by literature in the symbolic economy of contemporary public space, we have chosen to question the ordinary circulation practices of literary texts in our everyday lives. Our analysis examines the « publicity » (Habermas) of a textual object invested with literary value, with a focus on scenography. Our principal subjects of analysis are city spaces and tasks that compose our daily routine: transportation, trade, and recreation. These subjects manifest as three situated experiences of literature: the metro, merchandising and museums. Observing the emergence of literature in the common space, we have examined situations of communication that contest the value given to literary objects when they are publicized outside of the traditional « book space ». The theoretical framework of this research is the opportunity to reinvest the notion of the literary object, looking at the varied discursive regimes of its inscription in the social world through the expositive dimension. The empirical part of this research considers the deployment of literary space and envisions the question of literarity in situ in the urban polyphony. Through these scriptural incarnations, the goal is to study the forms of another consumption of the literary object and the representations that are constituted through the editorial gest as it occurs outside of the book.
|
6 |
A fábrica de peles: Hundertwasser e o caminhar contemporâneo / The skins factory: Hundertwasser and walking contemporaryBianca Bernardo Barros 31 March 2008 (has links)
Por convergência teórica, esta tese de dissertação é estruturada em quatro capítulos, retomando a teoria das cinco peles de Hundertwaser. O artista austríaco, filho de mãe judia e pai ariano, realizou em Paris sua primeira exposição no ano de 1954 e desde então, não cessou mais de trabalhar, aglutinando os exercícios de arquiteto, ambientalista, naturista e higienista moral, assim como as atividades de pintor e gravador, todos efetivados nos múltiplos diálogos estabelecidos por cada pele. As cinco peles de Hundertwasser acredita o homem como um ser de camadas, que se desenrolam por uma espiral concêntrica, que parte do eu-profundo para o mundo exterior, operada por osmose, nas cadeias sucessivas dos níveis de consciência do indivíduo. as cinco peles de Hundertwasser são um plano de vida - e mais: uma reflexão profunda do ser e estar sobre a terra, colocado em prática ao longo de sua jornada artística. A abordagem pretende desdobrar tal teoria - o que cada pele me suscita - no corpo fabril da minha produção em relação a de outros artistas e teóricos. A transmissão das cinco peles de Hunderwasser desenvolve-se em situações de alargamento das peles. Uma apropriação que re contextualiza, revela novos posicionamentos no caminhar da arte contemporânea / By theoretical convergence, this thesis dissertation is structured in four chapters, referring to the five skins theory of Hundertwasser. The Austrian artist, son of a Jewish mother and German father, held his first exhibition in Paris in the year 1954 and has not stopped since then, as an architect, environmentalist, naturist and moral hygienist, as well as the activities of painter and engraver, all ralized in the multiple dialogues established for each skin. The five skins of Hundertwasser are: the first skin, the epidermis; the second skin, clothing; the third skin, the home; the fourth skin, our social identity; and finally, th fifth planetary skin. Hundertwasser believe the man is a being of layers, which unrolls as a concentric spiral, that part form the deep-self to the outside world, operated by osmosis, in the successive chains of consciousness levels of the individual. The five skins of Hundertwasser are a life project - and more: a deep reflection of the being and standing on the earth, put into practice along his artistic journey. The approach seeks to unroll such theory - what each particular skin brings me - in the body of my production, relating to other artists and theorists. The transmission of the five skins of Hunderwasser develops as situations that extendes the skins. An appropriation that brings new context, revealing new ways of contemporary art
|
7 |
A fábrica de peles: Hundertwasser e o caminhar contemporâneo / The skins factory: Hundertwasser and walking contemporaryBianca Bernardo Barros 31 March 2008 (has links)
Por convergência teórica, esta tese de dissertação é estruturada em quatro capítulos, retomando a teoria das cinco peles de Hundertwaser. O artista austríaco, filho de mãe judia e pai ariano, realizou em Paris sua primeira exposição no ano de 1954 e desde então, não cessou mais de trabalhar, aglutinando os exercícios de arquiteto, ambientalista, naturista e higienista moral, assim como as atividades de pintor e gravador, todos efetivados nos múltiplos diálogos estabelecidos por cada pele. As cinco peles de Hundertwasser acredita o homem como um ser de camadas, que se desenrolam por uma espiral concêntrica, que parte do eu-profundo para o mundo exterior, operada por osmose, nas cadeias sucessivas dos níveis de consciência do indivíduo. as cinco peles de Hundertwasser são um plano de vida - e mais: uma reflexão profunda do ser e estar sobre a terra, colocado em prática ao longo de sua jornada artística. A abordagem pretende desdobrar tal teoria - o que cada pele me suscita - no corpo fabril da minha produção em relação a de outros artistas e teóricos. A transmissão das cinco peles de Hunderwasser desenvolve-se em situações de alargamento das peles. Uma apropriação que re contextualiza, revela novos posicionamentos no caminhar da arte contemporânea / By theoretical convergence, this thesis dissertation is structured in four chapters, referring to the five skins theory of Hundertwasser. The Austrian artist, son of a Jewish mother and German father, held his first exhibition in Paris in the year 1954 and has not stopped since then, as an architect, environmentalist, naturist and moral hygienist, as well as the activities of painter and engraver, all ralized in the multiple dialogues established for each skin. The five skins of Hundertwasser are: the first skin, the epidermis; the second skin, clothing; the third skin, the home; the fourth skin, our social identity; and finally, th fifth planetary skin. Hundertwasser believe the man is a being of layers, which unrolls as a concentric spiral, that part form the deep-self to the outside world, operated by osmosis, in the successive chains of consciousness levels of the individual. The five skins of Hundertwasser are a life project - and more: a deep reflection of the being and standing on the earth, put into practice along his artistic journey. The approach seeks to unroll such theory - what each particular skin brings me - in the body of my production, relating to other artists and theorists. The transmission of the five skins of Hunderwasser develops as situations that extendes the skins. An appropriation that brings new context, revealing new ways of contemporary art
|
8 |
La fabrique des conso-marchands : une approche par les dispositifs sociotechniques dans le contexte de la consommation collaborative / The Making of the “Consumer-Seller” : An Approach by Socio-technical dispositives in the Context of Collaborative Consumption.Juge, Elodie 09 November 2018 (has links)
La consommation collaborative est souvent présentée comme la nouvelle économie du partage et prône l’usage vs la propriété. Il semble pourtant que certaines pratiques collaboratives soient sources d’hyperconsommation et encouragent au contraire le consumérisme. Dans le cadre de la présente recherche doctorale, nous cherchons à identifier et comprendre les modalités de la montée en compétences marchandes des consommateurs. Nous étudions ce processus à travers les dispositifssociotechniques dans le contexte de la consommation collaborative. Nos résultats révèlent que certaines pratiques collaboratives permettent l’expression de l’Homme-entrepreneur et alimentent la logique néolibérale plutôt que de la remettre en question. Ils montrent également que les dispositifs sociotechniques sont omniprésents et capables de former en masse des consommateurs, les amenant àse conduire tels des conso-marchands au sein d’une hétérotopie « consumériste ». Notre travail souligne en outre que les conso-marchandes étudiées, dans la pratique du vide-dressing, développent certes leur entrepreneurialité mais veulent néanmoins préserv er un espace entre le jeu et le sérieux pour continuer à « jouer à la marchande ». / Collaborative consumption is often presented as the new economy of sharing and advocates usage vs. ownership. However, it seems that certain collaborative practices are sources of hyperconsumption and that they actually encourage consumerism. As part of this doctoral research, we seek to identify and understand the rise of commercial skills among consumers. We take a sociotechnical dispositives approach to study this process in the context of collaborative consumption. Our results demonstrate that certain collaborative practices allow the expression of the entrepreneurial subject and fuel the neoliberal logic rather than question it. They also show that socio-technical dispositives are omnipresent and capable of mass shaping consumers, leading them to behave like consumer-seller within a "consumerist" heterotopy. Furthermore, our results reveal how the consumersellers studied, in the context of a jumble sale, certainly develop their entrepreneurship but nevertheless want to preserve a certain distance between game and reality to continue to "play shop".
|
9 |
Zivilgesellschaftliches Engagement im Wandel – Deutsch-französische Vereine (1989-2013) als soziales Kapital und ihr Nutzen im transnationalen Raum / Civil society engagement in transformation - Social capital of Franco-German associations (1989-2013) and their role in the transnational space / L'engagement de la société civile en mouvement - Le capital social des associations franco-allemandes (1989-2013) et leur rôle dans l'espace transnationalHaase, Sarah 11 April 2018 (has links)
Cette thèse porte sur l'engagement de la société civile dans les relations franco-allemandes entre 1989 et 2013, avec une ouverture portant jusqu'à l'année 2017. Son objectif est d'étudier le rôle, l'organisation et le caractère transnational de six initiatives franco-allemandes face à l'intégration européenne et à la mondialisation. Tout en démontrant l'importance de l'engagement citoyen, cette thèse s'interroge sur la place de la relation franco-allemande dans nos sociétés actuelles. L'interdisciplinarité du travail nécessite la mobilisation de plusieurs méthodes de recherche. L'exploitation des archives propres à chaque association se révèle particulièrement importante, pour pouvoir illustrer l'évolution des initiatives citoyennes sur la base de données empiriques. Dans un premier temps, l'analyse procède par catégories : (1) communication, (2) conception des programmes/orientation thématique, (3) réseautage et (4) professionnalisation/potentiel d'innovation. Ensuite, la thèse explore l'importance du capital social individuel (Bourdieu) des personnalités clés au sein d'une association ainsi que le capital social collectif (Putnam) généré par ces associations. Les relations que les associations entretiennent au sein du réseau franco-allemand et les liens qu'entretiennent les personnages clés avec d'autres acteurs situés en dehors de cet espace binational sont deux éléments importants pour la visibilité, le poids et l'utilité sociale des initiatives (Gadrey). Enfin, le travail pose la question de savoir si ces associations constituent des hétérotopies (Foucault) qui suscitent un habitus particulier tout en créant une conscience franco-allemande. Ainsi, cette thèse s'emploie à démontrer l'importance d'un réseau associatif transnational. / This thesis discusses the civil society engagement in the relationship between France and Germany between 1989 and 2013, with an outlook until 2017. Its objective is to study the role, the organisation and the transnational character of six Franco-German associations in the face of European integration and globalisation. By showing the importance of civil society engagement, this thesis questions the place of the Franco-German relationship in our contemporary society. The multidisciplinarity of this thesis demands the application of different methodological approaches. The analysis of empirical data through the examination of the associations' archives is particularly important in order to show the development of the initiatives. First, the material is analysed by the categories (1) communication, (2) program conception/main topics, (3) networking and (4) professionalization/innovation potential, which reveal different challenges such as the ageing of the members. Then, the thesis explores the importance of individual social capital (Bourdieu) for an association disposed by key personalities as well as the collective social capital (Putnam) generated by these associations. Not only the relations the associations are maintaining within the Franco-German network but also the connections key personalities have outside of the binational space are important for the visibility, wages and social utility of the initiatives (Gadrey). Finally, the thesis asks if these associations could be characterized as heterotopy (Foucault), which evokes a particular habitus by creating a Franco-German self-conception. The analysis therefore attempts to show the importance of a transnational association network.
|
10 |
La tentativa hipotesis de lo real : la política heterotópica en Nadie me verá llorar de Cristina Rivera GarzaReid-Soucy, Nadine 04 1900 (has links)
Notre mémoire cherche à étudier la poétique de l’espace qui articule le
roman Nadie me verá llorar publié en 1999 par l’écrivaine mexicaine
contemporaine Cristina Rivera Garza. En inscrivant sa démarche romanesque
dans la perspective postmoderne d’une nouvelle histoire culturelle, Rivera
Garza dépeint un moment fondamental de l’histoire du Mexique allant de la fin
du Porfiriato jusqu’aux lendemains de la Révolution mexicaine en l’incarnant
dans le destin des laissés pour compte. Ce faisant, elle présente un texte où
une multitude de récits se fondent et se confondent en un tout complexe où sont
mis en perspective une série d’espaces de nature ambigüe.
Notre analyse tâche d’expliquer cette interrelation des chronotopes de
l’Histoire et du privé en tenant compte de son impact sur la structure narrative.
En décrivant les différentes modalités des espaces évoqués dans l’oeuvre, nous
nous intéressons au type de relations qui unit l’ensemble de ces espaces au
grand temps de l’Histoire officielle mexicaine en démontrant que tous ces
éléments sont régis par une politique hétérotopique qui lézarde le fini du
discours officiel en y insérant un ensemble d’éléments qui le subvertissent.
L’identification et la description de cette stratégie discursive est pertinente dans
la mesure où elle offre un éclairage autre sur le roman et semble caractériser
l’ensemble des oeuvres de Cristina Rivera Garza. / This thesis studies the poetics of space in which the novel Nadie me verá
llorar, published in 1999 and written by Cristina Rivera Garza, is articulated.
Locating her novelistic project in the postmodernist perspective of a new cultural
History, Rivera Garza outlines an essential moment of the history of the Mexican
Revolution, from the so-called Porfiriato until the end of the Revolution. That
being said, this author presents a text where a diversity of stories are founded
and confounded in a complex whole in which a series of ambiguous spaces is
put into perspective.
Our analysis tries to explain the interaction between the chronotopes of
the History, as a public space, and the private sphere to account for its impact
on the narrative structure. As we describe the different modalities of space
evoked in the novel, we are interested in the relations linking the spatial
ensemble to the official historic time, demonstrating that all those elements are
ruled by a heterotopic policy which fissures the official history, inserting
elements that are capable of subverting it. The identification and description of
such a peculiar discursive strategy allows us the capacity to see this novel from
a different perspective. Furthermore, this discursive strategy seems to be
characteristic of all of Rivera Garza’s novelistic work. / El presente estudio analiza la poética del espacio que articula la novela
Nadie me verá llorar, publicada en 1999 por la escritora mexicana Cristina
Rivera Garza. Al inscribir su proyecto novelesco en la perspectiva posmoderna
de una nueva historia cultural, Rivera Garza esboza un momento fundamental
de la historia mexicana, el comprendido entre el Porfiriato y el final de la
Revolución, ubicándolo en el destino de los desquiciados. Dicho lo anterior, la
autora presenta un texto donde una variedad de relatos se funden y se
confunden en un todo complejo en el que se somete a escrutinio una serie de
espacios de naturaleza ambigua.
Nuestro análisis trata de explicar esta interrelación de los cronotopos de
la Historia (constructo oficial de acontecimientos, legitimado desde el poder) y
de lo privado (memoria íntima y personal de los individuos) para dar cuenta de
su impacto en la estructura narrativa. Al describir las diferentes modalidades de
los espacios evocados en la obra, este estudio analiza el tipo de relaciones que
une el conjunto de esos espacios con el gran tiempo de la Historia mexicana
oficial, demostrando que todos esos elementos son regidos por una política
heterotópica que fisura la homogeneidad del discurso oficial al insertar
elementos que lo subvierten. Identificar y describir dicha estrategia discursiva es
pertinente ya que proyecta una luz diferente sobre la novela, siendo además
una estrategia recurrente en las obras firmadas por Rivera Garza.
|
Page generated in 0.0471 seconds