Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação apresenta um princípio de teorização acerca do Teatro da Encarnação, uma prática artística e missionária desenvolvida pelo autor em seu la- bor pastoral, e sua relação com a teologia da Missão Integral. Sob a visão de uma dupla encarnação na figura do boneco, o Teatro da Encarnação é uma manifestação corporeificada do lúdico infantil, onde o adulto e a criança transformam-se em seres que dialogam num espaço de significados compartilhados. Como esse teatro encar- nado é uma apropriação missionária do teatro de animação, sendo uma manifesta- ção artística que mantém enorme semelhança com o ato de brincar, o abordaremos inicialmente como técnica, falando do ator, do boneco e da criança, a partir do en- contro do mundo concreto do adulto com a hermenêutica lúdico-sincrética da crian- ça. E posteriormente, a partir da filosofia da Vida de Michel Henry e da teologia da Missão Integral, o abordaremos como um potente meio de apreensão dos saberes próprios da Vida, que, em sua auto-doação a nós, constrói um universo simbólico rico em experiências, onde ambos podem ver-se como seres nascidos na vida, num espaço kenótico de múltiplas possibilidades de interação e transformação. / This dissertation presents an introduction to the theorization on the Incarna- tion Theater, an artistic and missionary practice developed by the author in his pasto- ral labor, and its relation with the theology of Integral Mission. Under the notion of a double incarnation by the puppet, the Incarnation Theater is a bodily manifestation of children's ludic or playful behavior, where the adult and the child become beings who dialogue in a space of shared meanings. As this incarnated theater is a missionary appropriation of animated theater, and as an artistic manifestation has great similari- ties with the act of playing, we will approach it initially as a technique, speaking of the actor, the puppet and the child, starting from the encounter of the concrete world of the adult with the ludic-syncretic one of the child. After, starting from the Philosophy of Life of Michael Henry and the Integral Mission theology, we will approach it as a powerful means of apprehension of knowledges of life itself, which, in its self-giving to us, builds a symbolic universe rich in experiences, where both adult and child can see themselves as life-borne, in a kenotic space of multiple possibilities of interaction and transformation.

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L’objet de cette étude est de dégager une idée de scène de l’écriture théâtrale de Beckett. L’interrogation est suscitée par la place particulière que semble occuper l’oeuvre dans le champ théâtral, que l’on pense aux dramaticules qui remettent en cause le partage du « théâtre de texte » et de ce que l’on approche plutôt aujourd’hui à travers l’idée de « performance », ou au fait que « le cas Beckett » est souvent convoqué pour exemplifier les rapports difficiles entre texte et mise en scène. On propose de penser que ces singularités sont les symptômes d’une entreprise plus radicale de mise en crise de la catégorie de l’incarnation qui informe implicitement une certaine compréhension du fait théâtral. L’exploration des assises philosophiques du refus beckettien de l’incarnation, et l’étude de la manière dont la poétique dramatique de l’écrivain met en volume, à divers niveaux, un conflit entre « la vie » et « l’abstrait », là où l’art théâtral est habituellement décrit comme reposant sur leur fusion, permettront de dégager, au croisement du théâtre et de la philosophie, des motifs théoriques qui travaillent en profondeur la conception traditionnelle de la scène, et de dessiner une autre idée, beckettienne, de scène. Qualifier l’apparition scénique des pièces de l’écrivain sera donc, simultanément, l’occasion d’envisager l’écriture théâtrale en d’autres termes, et notamment loin de l’opposition du texte et de la scène. / This work aims to define an idea of the stage through the study of Beckett’s dramatic texts. Our line of enquiry arises from the unusual position of his works within the theatrical field : whether one calls to mind the short plays which do not fit the division into « text-based theatre » and what is more commonly approached today through notions of « performance », or the fact that « the case of Beckett » is often evoked to exemplify the problematic relations that can exist between text and stage direction. We put forward the hypothesis that these particularities are the symptoms of the way Beckett’s plays undertake more radically to jeopardise the categories of incarnation and embodiment on which a certain understanding of theatre is grounded. Exploring the philosophical bases of Beckett’s refusal of incarnation/embodiment, and studying the way his poetics on various levels acts so as to throw into relief a conflict between « the living » and « the abstract », when dramatic art is usually described as their fusion, allows us to shed light on theoretical patterns shaping the traditional conception of the theatre, and to put forward another idea, a Beckettian idea, of the stage. Describing the way his plays conceive of scenic apparition will then also be a way to think of writing for the theatre in other terms, ones far removed from the opposition of text and stage.

O presente trabalho pretende ser uma elucidação dos problemas que estão na origem da transição de uma fenomenologia da percepção à ontologia do ser sensível. Para tanto, concentramo-nos sobre os primeiros livros de Merleau-Ponty, delineando como se forma ali o projeto que irá ocupar a obra inteira, a saber, o de conciliar a inerência da subjetividade ao mundo e a capacidade intencional de fazê-lo aparecer em sua transcendência. Mostramos como a crítica à assimetria transcendental da correlação intencional husserliana conduz Merleau-Ponty a entendê-la não mais como aquela que se estabelece entre a consciência e o objeto, mas sim entre o corpo próprio e o mundo percebido, correlação na qual não mais apenas se anuncia a relatividade do objeto à subjetividade, mas uma dimensão de pertencimento desta última ao mundo sensível. Analisamos a partir de então os instrumentos conceituais, largamente debitários da fenomenologia husserliana da passividade, que entram em cena para dar conta desse projeto: a compreensão do mundo como estrutura de horizonte, a descoberta das sensações como portadoras de uma intencionalidade original, a da temporalidade como instância na qual fenomenalização do ser e enraizamento subjetivo nele devem poder coincidir. Mostramos, todavia, que a realização do projeto se encontra comprometida, nas primeiras obras, pela manutenção do postulado classicamente fenomenológico segundo o qual deve existir uma diferença irredutível entre a consciência e o aparecer como condição para que subsista, do lado objetivo da correlação, a transcendência do aparecente em relação ao aparecer. A dificuldade das primeiras obras para dar conta de uma relação de diferença que é também a de uma identidade entre a consciência e o aparecer se traduz nas aporias da encarnação e do cogito tácito, e implica que não consigam pensar a unidade de inerência e transcendência. A esse respeito, mostramos que a doutrina da temporalidade apenas amaina a dificuldade e não a resolve, na medida em que pressuporá um olho fora do tempo para o qual o tempo se temporaliza. Por fim, evidenciamos como o conceito de reversibilidade na última fase da obra torna- se compreensível como resposta a esse problema evidenciado nos primeiros livros. / This work aims at elucidating the problems underlying Merleau-Pontys transition from a phenomenology of perception to an ontology of sensible being. By means of an analysis of his first books, we try to apprehend the sense of the philosophical task he will pursue throughout his career, namely to reconcile the inherence of subjectivity in the world and its intentional ability to make it appear in its transcendence. We show that Merleau-Pontys critique of Husserls transcendental idealism leads him to interpret intentional correlation not as one established between consciousness and object, but as one established between lived body and perceived world. This correlation no longer sustains exclusively the thesis of the objects dependence on transcendental subjectivity, but also implicates a dimension of subjectivitys belonging to the sensible world and hence to some form of objectivity. We then analyze the conceptual tools, widely taken from Husserl\'s phenomenology of passivity, that come into play to account for this project: the world as horizon structure, the sensations as bearing an original form of intentionality, temporality as the instance in which beings phenomenalisation and subjectivitys rooting in it should be reconciled. However, we try to demonstrate that Merleau-Pontys project is not fully achieved in his first works. This is mainly due to the phenomenological principle according to which there must be some sort of difference between consciousness and appearance in order for the thing that appears to maintain its intentional transcendence in relation to phenomena. In his first books, Merleau-Ponty is incapable of accounting for this difference between consciousness and appearance as being also some sort of identity between them. This renders the notions of lived boy and incarnation conceptually instable, and ultimately implies an antinomy between inherence and transcendence. In that sense, we show that the doctrine of temporality only lessens the difficulty without actually solving it. In conclusion, we sketch how the concept of reversibility in Meleau-Pontys later works only becomes fully understandable as a response to the difficulties revealed in his earlier books.

Cette recherche aborde l’image du visage à l’aune de sa prise en charge par la photographie comme de ses corrélats techniques et esthétiques. On interroge ainsi le portrait, dans le champ de l’art et du sans-Art, en ce qu’il dépasse les codes d’une catégorie générique attachée à la représentation des personnes. On s’intéresse notamment à la situation sur laquelle il repose, dont il semble non seulement traduire et étendre le vis-À-Vis paradigmatique, mais également, l’intensifier.Parallèlement, en s’appuyant sur les mythes qui questionnent l’homme en son apparaître et son imaginaire ainsi que sa nécessité à expérimenter et à créer, on interroge les raisons pour lesquelles, à défaut de cerner occasionnellement l’ipséité d’un visage en échappée, le portrait est en mesure de générer une expérience de l’identité comme connaissance de soi et d’un autre que soi, à la fois pour l’auteur qui imprègne une image, pour un acteur qui y joue son être imageant, et pour un récepteur qui en traverse la figurance. Dans cet entrelacs, entre le visible et ce qui ne l’est pas, semble se tisser la moire d’une rencontre impalpable, rencontre de vies incarnées par des affects, rencontre en laquelle se risque le souffle d’une poétique et où s’entrevoit, de visage à visage, un élan, un geste, un aller vers, engageant l’humain en son être au monde, par le regard et par la main, et en vertu d’un rapport et d’un déplacement. Si alors, au point de contact avec un autre visage se fige une possible fascination hypnotique, le mouvement du sensible, à travers l’espace et le temps, nous amène à considérer, entre apparition et disparition, un en deçà et un au-Delà de la rencontre, c’est-À-Dire, autant le moteur d’une érotique arrimée à la question du désir, qu’une traversée de l’éther de la psyché par une dynamique qui, de personne en personne, d’être en être, se renouvelle à l’infini. La rencontre que nous tentons d’approcher ici relève ainsi d’une expérience du visage, telle qu’elle en creuse parfois l’énigme métaphysique ou en découvre le charme, mais aussi, et surtout, telle que l’imageant, dans le vivre ensemble ou la solitude, elle entame une réflexion qui s’avère être aussi une voie, et peut-Être en ce sens, un voyage de la pensée pour un discernement, pour un envisagement. Au fil d’un temps décousu et recousu qui, de la naissance à la maturité et à la vieillesse, est celui de l’existence humaine et de sa traversée, au fil d’un temps, donc, qui impose le dépassement d’une condition arbitraire et inéluctable qui, de génération en génération, est intensément tissée de valeurs impressives toujours reconduites et toujours revécues, au fil d’un temps voué à l’ultime, mais aussi à un recommencement, chaque chapitre de cette thèse est ainsi une occasion d’exploration de visages en rencontre, de visages en chemin. / The subject of the present study focuses on the technical and aesthetic correlates of the facial image in photographic representation. Hence, the analysis undertakes to examine the notion of the portrait as such, both with respect to the scope of its artistic and non-Artistic aspects, and the extent to which it transcends the codes of a generically human form of representation. It envisages, moreover, the concept of the portrait in view of its place in representing and extending the paradigmatic expression of the self. By the same token, in drawing on the kind of myths that question man’s apparent self-Image and imagination, as these are linked to his inherent drive to experiment and to create, an explanation is advanced as to why, by only occasionally achieving the ipseity of a face « en échappée », the portrait succeeds in generating man’s identity as a way of knowing self and other, namely, how the author suffuses an image with significance, how an actor who plays his part as an imaginative agent, and the ways in which a recipient penetrates the notion of « figurance » .This concept that links the visible and the invisible, harbours the shimmering, impalpable encounter of affect-Embodied lives — an encounter during which a poetics appears to manifest itself and in which the human agent is capable of discerning an outburst, a gesture, a forward movement thereby compelling man’s inner being to visualize the world through his own eyes – and hands made palpable by displacement. Where this occurs, a hypnotic fascination begins to make itself felt at an inter-Facial nexus. Here, we note the gravitation of sensible essence in space and time oscillating between an apparition – at once visualized and invisible – , between an en deçà and an au delà as this essence proceeds from an erotic encounter, issuing as much from desire as from psyche, and which dynamically traverses the ether, ad infinitum, from one being to another. Our approach to this encounter accounts as much for the experience of facial representation as it does, occasionally, for the deepening of its enigmatically metaphysical point of departure, or else discloses its charm and its mode of « image » representation, either in cohabitation or in solitude – the overture to a journey towards discernment, towards a new perception. The experience of this passing of time defines man’s fate from birth through to maturity and on to old age. It reaches beyond the arbitrary and inescapable condition of man from one generation to the next, and is intimately woven into our forever reconstituted, affective values. Every chapter engages in an analysis of this temporal transition, a course ultimately leading to extinction, but also to a Renaissance. This enables the reader to thus explore the different faces he encounters throughout the course of his journey.

No description available.

Les rapports du corps et de la médecine n'ont cessé de se transformer tout au long de notre histoire. Cette évolution a été marquée de façon radicale par la révolution scientifique figurée par Copernic pour ce qui est de l'univers et Vésale pour ce qui est du corps. Sous l'égide de Descartes le corps - déjà infériorisé par le dualisme de Platon - s'est vu réduit au statut d'objet de science, de mécanique, par la suprématie du dualisme épistémologique. Le but de ce travail est tout d'abord d'essayer de comprendre le cheminement d'une telle réduction, d'en montrer ses origines ainsi que ses dérives passées et actuelles avec leurs conséquences éthiques dès lors qu'il s'agit de penser le corps et, par lui, la médecine. Ensuite il faudra se poser la question de savoir dans quel cadre concevoir ce corps pour lui rendre toute sa place, celle que lui donne l'incarnation qui fait du patient une totalité irréductible à sa maladie. / The relationships of the body and the medicine did not stop being transformed throughout our history. The evolution was marked in a radical way by the scientific revolution inaugurated by Copernic as for the universe and by Vésale as for the body. Under the aegis of Galilee then of Descartes, the body – already underestimated by the dualism of Platoon – saw itself reduced in the status of object of science, mechanics, under the ascendancy of the epistemological dualism. The purpose of this work is first of all to try to understand the progression of such a reduction, to show its origins as well as its past and current drifts, with their ethical consequences, since it is a question of thinking the body and, by it, of the medicine. Then the question arises to know which frame must be conceived to give back the body its entire place that the embodiment gives to it making the patient an inflexible whole which can't be confined to illness.

L’appropriation des biotechnologies par les artistes en vue de créer des œuvres de « bioart » a souvent été considérée comme une démarche transgressive par rapport à la frontière qui délimite l’art et la science. Ma recherche vise à analyser un corpus de productions bioartistiques (Que le cheval vive en moi du duo Art orienté objet, Natural History of the Enigma, d’E. Kac et Ear on Arm de Stelarc) afin de mettre en perspective les « paramètres » par lesquels ont juge qu’il y a, notamment, appropriation et transgression, c’est-à-dire qu’il y a « art ». À partir de l’idée que les œuvres de bioart sont celles qui mettent à contribution les biotechnologies pour leur spécificité, c’est-à-dire la capacité à transformer le vivant, une analyse sémiologique met en évidence l’« incarnation » comme principale stratégie plastique du faire art dans les œuvres du corpus. En expérimentant les œuvres, le spectateur expérimente leurs conditions biologiques d’existence, qui sont similaires aux siennes. Il prend alors acte de cette incarnation, ce qu’une analyse phénoménologique met à jour. En comparant les modes de médiation des œuvres du corpus à ceux des icônes byzantines, une analyse médiologique révèle enfin l’équivalence entre incarnation et médiation et la transparence des œuvres de bioart à la technique dont la cybernétique est facteur de totalisation. Il semble qu’en créant des sujets vivants technicisés, les œuvres de bioart posent un jalon à l’évolution des objets techniques, telle qu’elle a été conceptualisée par Simondon : c’est l’intuition sur laquelle se referme cette thèse. / The purpose of my research is to define the aesthetic aims of works of bioart. Its starting point is the need to make an aesthetic analysis of some productions of this movement in order to understand its strategies, for these are wrongly considered as coming from Duchamp’s readymade, since bioartists tend to use biotechnologies to create works of art. This research suggests “bioart” gathers various works which involve biotechnologies inasmuch as they manage to transform the living. In this thesis, three bioartworks are studied: Que le cheval vive en moi, by French artists Art Objet orienté, Natural History of the Enigma, by American artist E. Kac and Ear on Arm by the Australian Stelarc. In order to define the aesthetic aims of these three works of art, an analysis grid inspired by semiology highlights aesthetical mechanisms. This analysis shows that “embodiment” is the main plastic way to art. This embodiment provokes a “sense of presence” in the works of the corpus, which can be identified as their “aura”. The aura allows the viewer to become aware of the biological realm of existence he shares with the artworks themselves. Therefore the aura is the manifestation of the contact between the viewer and the biotechnological meaning of the work. This implies that the works of the corpus embody their messages. The corpus has been compared to the Byzantine icons, which also “embody” their messages, in order to understand to what extent the biotechnological production of the living in art represents such a shift in art theory. By using biotechnologies, the works of the corpus testify about cybernetics, which is one of the main organizing principles of globalization and of the increasing presence of technology in human ways of life. It even appears that with the creation of technical living subjects, they pave the way for the evolution of technical objects, as it was conceptualized by Simondon – this is how the thesis comes to its conclusion.

Made available in DSpace on 2017-06-01T18:12:35Z (GMT). No. of bitstreams: 1 dissertacao_jose_orlando.pdf: 1160643 bytes, checksum: c4a4c30affc5859ef50a81c8ee705585 (MD5) Previous issue date: 2012-12-11 / The objective of this research is to analyze the concept of the incarnation of God, unfolding to a gradual creep in the design of phenomenology to the culmination at the conclusion of Mircea Eliade, when present incarnation as an integral factor of some religions and supreme hierophany. From this analysis, will be described the incarnation, passing through the Christian perspective of seeing it as truth and existential context of controversy to be safeguarded by the creeds of its major councils: Nicea and Chalcedon. Coming to the emergence of a new and modern reinterpretation that has the understanding of the incarnation as a metaphor , proposed by John Hick, based worldview of the religious pluralism; seeking discuss some consequences for the self-understanding of Christianity / O objetivo desta pesquisa é analisar o conceito da encarnação de Deus, desdobrando-se a uma fluência progressiva na concepção da fenomenologia até a culminação na conclusão de Mircea Eliade, quando apresenta a encarnação como fator integrante de algumas religiões e a suprema hierofania. A partir dessa análise, será descrita a encarnação, perpassando pela perspectiva cristã de vê-la como verdade existencial e seu contexto de controvérsia para ser salvaguardado pelos credos dos seus principais concílios: Niceía e Calcedônia. Chegando ao surgimento de uma nova e atual releitura, que apresenta a compreensão da encarnação como metáfora , proposta por John Hick, embasada pela cosmovisão do pluralismo religioso; buscando problematizar algumas consequências para a autocompreensão do cristianismo

Although recent scholars have attempted to recuperate the cultural and literary value of Francis Quarles' Emblemes, traditional emblematic interpretations categorize the images as merely illustrations of the poetic utterance. The investment of this paper shifts critical attention away from the content of Quarles' text as the only source of meaning and argues that meaning is contingent on the interpretation of both word and image. In order for the images of the text to have full consideration, I have stepped away from the traditional emblem metaphor of body and soul in favor of an incarnational metaphor that joins image and word in a hypostatic union of interpretation.