This thesis contends that technologically-derived resurrections of human bodies and bodily fragments can be viewed as indicative of a 'post-biological' ontology. Drawing from examples in which human bodies are resurrected, both figuratively and actually, this thesis puts forward the term 'post-biological subject' as an ideological framework for conceptualising the reconfiguration of human ontology that results from various medical technologies that 'resurrect' the human body. In this instance, the term 'postbiological', borrowed from Hans Moravec who uses it denote a future in which human being is radically disembodied and resurrected within a digital realm, is used somewhat ironically: where Moravec imagines an afterlife in which the body is discarded as so much 'meat', the post-biological afterlife of the body in this thesis centres around a form of corporeal resurrection. Corpses, living organs and excreta may all be resurrected, some of them in digital format, yet this kind of resurrection departs radically from the disembodied spiritual bliss imagined in many conceptualisations of resurrection. The post-biological subject resists ontological delineation and problematises boundaries defining self and other, living and dead, and human and nonhuman and is fraught with a number of cultural anxieties about its unique ontological status. These concerns are analysed in the context of a number of phenomena, including melancholy, horror, monstrosity and the uncanny, all of which similarly indicate an anxious fixation with human ontology. The purpose of discussing post-biological bodies in relation to phenomena such as melancholy or the uncanny is not to reinstate as ideological frameworks the psychoanalytic models from which these concepts are derived, but rather to use them as starting points for more complex analyses of postbiological ontology. The first and second chapters of this thesis discuss instances in which the human body is posthumously modified, drawing on Gunther von Hagens's Body Worlds exhibition and the Visible Human Project. The Body Worlds plastinates are situated in a liminal and ambiguous ontological space between life and death, and it is argued that their extraordinary ontological status evokes a form of imagined melancholy, wherein the longed-for and lost melancholic object is a complete process of death. In the case of the Visible Human Project, it is argued that the gruesome and highly technologised process of creating the Visible Male, wherein the corpse is effectively dehumanised and iv rendered geometric, evokes the trope of horror, while at the same time being fraught with a nostalgic longing for a pre-technological, anatomically 'authentic' body. The third and fourth chapters of this thesis discuss instances in which the living human body is reconfigured, focusing on immortal cell lines and organ transplantation, and on medical imaging technologies such as computed tomography and magnetic resonance imaging. In the third chapter it is argued that organ transplantation and the creation of immortal cell lines give rise to profound anxieties about ontological contamination through their capacity to render permeable the imagined boundaries defining self, and in this way invoke the monstrous. The fourth chapter interrogates the representation of medical imaging in Don DeLillo?s novel White Noise, arguing that the medical representation of the body functions as a form of double, a digital doppelganger that elicits an uncanny anxiety through its capacity to presage death.

Orientador: Aline Vieira de Carvalho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T03:36:50Z (GMT). No. of bitstreams: 1 Backx_Isabela_M.pdf: 990287 bytes, checksum: 5c5f5e68b801bde94e1643537eba4ba1 (MD5) Previous issue date: 2013 / Resumo: A presente pesquisa analisa como se deu a construção dos discursos sobre Homem e Humanismo por Paul Rivet e Paulo Duarte, intelectuais que influenciaram de maneira fundamental o desenvolvimento de alguns dos principais pilares da Arqueologia acadêmica no Brasil. Essa investigação tem o objetivo de demonstrar que os conceitos não são verdades naturais e imodificáveis, mas construções discursivas que devem ser investigadas para ressaltar sua historicidade e seus usos políticos, e, portanto, sua capacidade de transformação e adaptação. Este trabalho foca-se especialmente na análise dos conceitos de Homem e Humanismo em Rivet e Duarte, procurando demonstrar que sua construção se deu obedecendo aos desejos, interesses e contextos de seus produtores. Relidas na atualidade, tais concepções podem abrir espaços para repensarmos termos que são caros à Arqueologia / Abstract: This research aims to analyze how speech construction about Human and Humanism were made by Paul Rivet and Paulo Duarte, intellectuals who deeply influenced the development of some of the main pillars of academic Archaeology in Brazil. This research aims to show that a concept is not an unchangeable and natural truth, but it is a discursive construction that should be investigated to stand out its historicity and politic uses, and therefore its transformation and adaptation capability. The main focus of this paper is to analyze the concepts of Man and Humanism in Rivet e Duarte, trying to show that the construction of these concepts were based on obeying the producers 'desires, interest and contexts. Read today, these concepts are able to open up spaces for rethinking terms that are important to Archaeology / Mestrado / Historia Cultural / Mestra em História

La tesi ha lo scopo di inquadrare Giordani nel contesto del mondo culturale cattolico tra le due guerre e di approfondire la sua proposta di «cristianesimo integrale» come soluzione alla crisi che negli anni Venti e Trenta viziò il mondo economico, il sistema politico e lo scenario culturale, a livello di principi fondamentali, di valori. Per questo si è dato assoluto rilievo ai rapporti di Giordani con molti intellettuali suoi contemporanei e con varie istituzioni culturali cattoliche. Il testo segue dapprima un indirizzo biografico, che permette di ripercorrere la vita di Giordani dalla giovinezza, segnata dalla guerra e dall’esperienza al fronte, alla sua serena fine, nel 1980. Si tratta di una testimonianza di come la sua conseguenzialità tra fede e opere abbia inciso negli ambienti che lo hanno visto protagonista, tanto che è stato avviato per lui il processo di beatificazione. La ricerca è stata condotta tenendo conto degli scritti di Giordani e della storiografia precedente, ma soprattutto utilizzando numerosi materiali d’archivio. In particolare i carteggi privati aiutano a ricostruire l’operato di Giordani a favore dell’impegno degli intellettuali cattolici negli anni oscuri del fascismo e la sua indefessa attività per la realizzazione di un nuovo umanesimo. Altro spazio è stato riservato ai rapporti maturati da Giordani con due esponenti del mondo cattolico italiano di quel periodo, ovvero Giovanni Papini e Piero Bargellini. / This dissertation aims at setting Igino Giordani within the broader framework of the catholic cultural environment between the two world wars. It focuses on his proposal of an «integral Christianity» as a solution to the recession which threatened the fundamental values and principles of the economy, politics and culture during the 1920's and 1930's. This is the reason why the relationships between Giordani and many of his colleagues and cultural catholic institutions have been studied in depth. The work starts with a biography, underlining how Giordani's youth has been affected by the war and the experience as a soldier, up to his peaceful death, in 1980. His life shows how the consistency of his actions with his faith made him an influent personality in his working environments, to the point that the beatification process has begun. The research is based on Giordani's writings and on the previous historiography, but the most important source is constituted by a large number of archive documents. Particularly, Giordani's private correspondence has been very useful in understanding how he acted in order to support the engagement of the catholic intellectuals during the dark fascist age and his endless activity in order to build a new humanism. The work also focuses on the relationships between Giordani and two members of the Italian catholic world of the time: Giovanni Papini and Piero Bargellini.

Este estudo busca trazer elementos para explicar a crise que dissolveu a Unilabor, uma experiência autogestionária operária única a seu tempo, em São Paulo, através da análise da documentação interna da empresa, das informações prestadas por alguns dos participantes, entrevistados, e pelo recurso à hipótese de prevalência de uma racionalidade instrumental, a certa altura dos acontecimentos, em lugar da racionalidade substantiva pressuposta nos fundamentos da comunidade. Os elementos para a formulação e exame dessa hipótese provêm das teorias marxistas do trabalho, conforme reformuladas e atualizadas por autores como Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz e Ricardo Antunes, os quais, mesmo não uniformemente, apontam os elementos atuais de uma crise da categoria \'trabalho\' como elemento central da formação da riqueza. Também os conceitos de comunidade, solidariedade, esperança e amizade, conforme expostos e analisados por Giorgio Agamben e Terry Eagleton, servirão para problematizar as conclusões do trabalho. O aspecto estético, consubstanciado no desenho industrial utilizado nos móveis produzidos pela Unilabor, aparece como fundamento secundário da hipótese de insuficiência substantiva apresentada, pois pretendeu ser fator pedagógico, portanto de aprendizado de ofício, para os operários envolvidos na autogestão. Tal programa estético, tanto quanto a solidariedade, a amizade e a racionalidade substantiva, também mostrou-se insuficiente para a manutenção dos laços comunitários. / This study aims to gather elements to explain the crisis that dissolved Unilabor, a workers\' self-management experience in São Paulo that was unique in its time, through the analysis of the company\'s internal documentation, through information provided by some of the participants who were interviewed, as well as by resorting to the hypothesis of prevalence of an instrumental rationality, at one point, in place of the substantive rationality assumed in the fundamentals of the community. The elements for the formulation and analysis of this hypothesis come from Marxist theories of labor, as reformulated and updated by authors such as Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz, and Ricardo Antunes, who, albeit not uniformly, have pointed out the current elements of a crisis of the category \'work\' as a central element in the creation of wealth. Additionally, the concepts of community, solidarity, hope, and friendship, as defined and analyzed by Giorgio Agamben, and Terry Eagleton will be used to open the conclusions of this paper up to discussion. The aesthetic aspect, embodied in the industrial design of the furniture produced by Unilabor is present as a background for the substantive insufficiency hypothesis that is presented, since it intends to function as a factor that is pedagogical, thus concerning the learning of one\'s craft by workers involved in the self-management. This aesthetic program, as much as the solidarity, friendship, and substantive rationality, also proved to be insufficient for the maintenance of community ties.

Este estudo busca trazer elementos para explicar a crise que dissolveu a Unilabor, uma experiência autogestionária operária única a seu tempo, em São Paulo, através da análise da documentação interna da empresa, das informações prestadas por alguns dos participantes, entrevistados, e pelo recurso à hipótese de prevalência de uma racionalidade instrumental, a certa altura dos acontecimentos, em lugar da racionalidade substantiva pressuposta nos fundamentos da comunidade. Os elementos para a formulação e exame dessa hipótese provêm das teorias marxistas do trabalho, conforme reformuladas e atualizadas por autores como Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz e Ricardo Antunes, os quais, mesmo não uniformemente, apontam os elementos atuais de uma crise da categoria \'trabalho\' como elemento central da formação da riqueza. Também os conceitos de comunidade, solidariedade, esperança e amizade, conforme expostos e analisados por Giorgio Agamben e Terry Eagleton, servirão para problematizar as conclusões do trabalho. O aspecto estético, consubstanciado no desenho industrial utilizado nos móveis produzidos pela Unilabor, aparece como fundamento secundário da hipótese de insuficiência substantiva apresentada, pois pretendeu ser fator pedagógico, portanto de aprendizado de ofício, para os operários envolvidos na autogestão. Tal programa estético, tanto quanto a solidariedade, a amizade e a racionalidade substantiva, também mostrou-se insuficiente para a manutenção dos laços comunitários. / This study aims to gather elements to explain the crisis that dissolved Unilabor, a workers\' self-management experience in São Paulo that was unique in its time, through the analysis of the company\'s internal documentation, through information provided by some of the participants who were interviewed, as well as by resorting to the hypothesis of prevalence of an instrumental rationality, at one point, in place of the substantive rationality assumed in the fundamentals of the community. The elements for the formulation and analysis of this hypothesis come from Marxist theories of labor, as reformulated and updated by authors such as Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz, and Ricardo Antunes, who, albeit not uniformly, have pointed out the current elements of a crisis of the category \'work\' as a central element in the creation of wealth. Additionally, the concepts of community, solidarity, hope, and friendship, as defined and analyzed by Giorgio Agamben, and Terry Eagleton will be used to open the conclusions of this paper up to discussion. The aesthetic aspect, embodied in the industrial design of the furniture produced by Unilabor is present as a background for the substantive insufficiency hypothesis that is presented, since it intends to function as a factor that is pedagogical, thus concerning the learning of one\'s craft by workers involved in the self-management. This aesthetic program, as much as the solidarity, friendship, and substantive rationality, also proved to be insufficient for the maintenance of community ties.