Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O trabalho apresenta-se a propósito da obra poética que assina Ricardo Reis, sobre a qual se lança a sugestão de que é alçada pela indiferença. Tal indiferença é entendida como um modo pelo qual a linguagem mantém-se em absoluta precedência, preservando sua condição divina e sua impessoalidade. A presente pesquisa propõe que a indiferença deve ser a maneira pela qual Ricardo Reis assinala o cumprimento do fim da arte, imitando a natureza enquanto pura e inapreensível poiesis, força produtora concebida como instância à indiferença de si, isto é, indiferente a si mesma e ao que realiza. Supõe-se que Ricardo Reis, submetido à indiferença, resguarda o poema na esfera antecedente, divina e impessoal da linguagem ao assumir-se, antes de ser poeta, como verso-assinatura autorizado pela obra de arte cuja assinatura primeira é poema. Portanto, através de uma leitura reflexiva debruçada sobre alguns poemas escolhidos, pretende-se compreender como a indiferença norteia a tarefa artística de Ricardo Reis, levando em conta que a linguagem precede, inclusive, o próprio ato de escrever versos / This dissertation aims at analysing Ricardo Reis's poetical work based on the concept of indifference. Such indifference is understood as one way in which the language remains in absolute precedence, preserving its divine status and its impersonality. This research suggests that indifference might be the path that Ricardo Reis points out to fullfill the purpose of art, imitating nature as a pure and intangible poiesis, a productive force conceived as a domain indifferent to itself and to what it accomplishes. It is assumed that Ricardo Reis, subjected to the indifference of language, keeps the poem in a previous divine and impersonal sphere of language by taking on, before being a poet, a verse-signature authorized by the work of art whose first trace is poem. Therefore, through a reflective reading of some chosen poems, this study aims at understanding how indifference guides the artistic task of Ricardo Reis, taking into account that language precedes the very act of writing verses

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O trabalho apresenta-se a propósito da obra poética que assina Ricardo Reis, sobre a qual se lança a sugestão de que é alçada pela indiferença. Tal indiferença é entendida como um modo pelo qual a linguagem mantém-se em absoluta precedência, preservando sua condição divina e sua impessoalidade. A presente pesquisa propõe que a indiferença deve ser a maneira pela qual Ricardo Reis assinala o cumprimento do fim da arte, imitando a natureza enquanto pura e inapreensível poiesis, força produtora concebida como instância à indiferença de si, isto é, indiferente a si mesma e ao que realiza. Supõe-se que Ricardo Reis, submetido à indiferença, resguarda o poema na esfera antecedente, divina e impessoal da linguagem ao assumir-se, antes de ser poeta, como verso-assinatura autorizado pela obra de arte cuja assinatura primeira é poema. Portanto, através de uma leitura reflexiva debruçada sobre alguns poemas escolhidos, pretende-se compreender como a indiferença norteia a tarefa artística de Ricardo Reis, levando em conta que a linguagem precede, inclusive, o próprio ato de escrever versos / This dissertation aims at analysing Ricardo Reis's poetical work based on the concept of indifference. Such indifference is understood as one way in which the language remains in absolute precedence, preserving its divine status and its impersonality. This research suggests that indifference might be the path that Ricardo Reis points out to fullfill the purpose of art, imitating nature as a pure and intangible poiesis, a productive force conceived as a domain indifferent to itself and to what it accomplishes. It is assumed that Ricardo Reis, subjected to the indifference of language, keeps the poem in a previous divine and impersonal sphere of language by taking on, before being a poet, a verse-signature authorized by the work of art whose first trace is poem. Therefore, through a reflective reading of some chosen poems, this study aims at understanding how indifference guides the artistic task of Ricardo Reis, taking into account that language precedes the very act of writing verses

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-01-13T16:49:22Z No. of bitstreams: 2 Dissertação - Pedro Lucas Dulci Pereira - 2015.pdf: 1874336 bytes, checksum: 4468d29925f5bc0be8c2a2b936bc1105 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-14T11:20:18Z (GMT) No. of bitstreams: 2 Dissertação - Pedro Lucas Dulci Pereira - 2015.pdf: 1874336 bytes, checksum: 4468d29925f5bc0be8c2a2b936bc1105 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-14T11:20:18Z (GMT). No. of bitstreams: 2 Dissertação - Pedro Lucas Dulci Pereira - 2015.pdf: 1874336 bytes, checksum: 4468d29925f5bc0be8c2a2b936bc1105 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-02-20 / The present dissertation aims to explore only one of the input ports of the philosophy of Giorgio Agamben: the theological genealogy signature "power" in its unitary form. Despite the multifaceted work of Agamben, there is a kind of spine that runs through all the philosopher's reasoning in the last 25 years. Agamben usually puts his reader that place he calls the zone of indifference, or even of inoperativity. The origin of the idea of a zone of indifference or inoperativity that Agamben uses as ubiquitous assumption in his work, is precisely the Judeo-Christian messianic theology - so it is a theological genealogy. This philosophy of indifference or political messianism present in the work of Agamben always shown from three basic movements operated by the author. First, he criticizes between two categories historically placed in opposition in Western thought. Zoe and bios, inside and out, law and anomy, exception and rule, etc. After highlighting this polarity, it passes to the second movement that comes to bring out an indifference zone between these two poles. The figure of the homo sacer, the state of emergency, the concentration camp, etc., are also examples of people, places and situations where these bilateral oppositions become indifferent and enter a inoperativity zone. All this he shows that, finally, in the third movement of his argument, be able to present what is perhaps a unique proposition: the messianic moment of destituinte suspension. The Franciscan way of life, the use without possession, divine violence, or profanity are different ways of bringing an action that is outside the reading key metaphysical power / act. Each of these fundamental movements will be explored in the three parts of this dissertation focusing mainly on the signature “power” in his philosophy. / A presente dissertação tem por objetivo explorar apenas uma das portas de entrada da filosofia de Giorgio Agamben: a genealogia teológica da assinatura “poder” em sua forma unitária. A revelia da multifacetada obra de Agamben, existe uma espécie de coluna vertebral que perpassa todo o raciocínio do filósofo nos últimos 25 anos. Agamben habitualmente coloca o seu leitor naquele lugar que ele chama de zona de indiferença, ou mesmo, de inoperosidade. A origem da ideia de uma zona de indiferença ou de inoperosidade, que Agamben usa como pressuposto ubíquo em sua obra, é justamente a teologia messiânica judaico-cristã – por isso se trata de uma genealogia teológica. Essa filosofia da indiferença ou messianismo político presente na obra de Agamben sempre se mostra a partir de três movimentos básicos operados pelo autor. Em primeiro lugar, ele faz uma crítica entre duas categorias historicamente colocadas em oposição no pensamento ocidental. Zoē e bíos, dentro e fora, lei e anomia, exceção e regra, etc. Após destacar esta polaridade, ele passa ao segundo movimento que se trata de fazer emergir uma zona de indiferença entre estes dois pólos. A figura do homo sacer, o estado de exceção, o campo de concentração, etc., são também exemplos de pessoas, lugares e situações em que essas oposições bilaterais se tornam indiferentes e entram em uma zona de inoperosidade. Tudo isso ele mostra para que, por fim, no terceiro movimento de sua argumentação, poder apresentar aquela que talvez seja sua única proposta: o momento messiânico de suspensão destituinte. A forma de vida franciscana, o uso sem posse, a violência divina, ou a profanação são diferentes modos de apresentar uma ação que esteja fora da chave de leitura metafísica potência/ato. Cada um desses movimentos fundamentais será explorado nas três partes da presente dissertação tendo como foco principal a assinatura “poder” em sua filosofia.

This thesis will undertake a study of contemporary political subjectivity by investigating the manifestations of various pathea found in contemporary politics. In examining how political impotence and indifference are cultivated through (neo)liberal subject formation, it argues that contemporary neoliberal subjectivity is constituted through the pathos of distance found in the gap between the impotent liberal subject and the imaginary, universal ideal subject articulated by liberalism. Through close readings of Wendy Brown’s writings, I explore her work and engage with her formulations of contemporary political subjectivity. Specifically, I will analyze the impotent subject constituted by the pathos of ressentiment, the vulnerable subject constituted by the pathos of walling, and the tolerated subject constituted by the pathos of difference in order to trace the relationships between the various pathea and the subjectivities that they construct. / Graduate / 0615

博士（経営） / 85 p. / 一橋大学

Video Absence reflects the findings of theoretical thesis named Boredom. The basic situation is described as lack of meaning, will, interest and feeling. Video is an attempt at poetic reflection of such situation, which is characterised as aimless searching without finding. The main tools are empty hands and different kinds of ground. The void has been overcome through the gesture related to problem of gift.

Research on attitudes towards immigration policies typically considers the economic and cultural threats that compel many Americans to favor exclusionary policies that curb immigration. Less is understood about how indifference to inequality shapes Americans’ attitudes towards immigration policies—that is, how ‘not caring’ about the unequal conditions faced by immigrants likely has detrimental consequences for their safety and wellbeing. The present research examines indifference to inequality as a predictor for policies that impact opportunities for immigrants to come to the U.S., and who are otherwise undocumented and/or at great risk for exploitation. Using survey data from the American National Election Studies gathered in 2016 (Study 1; n = 3,187) and 2020 (Study 2; n = 6,941), we find that greater indifference to inequality is associated with less support for providing a path to citizenship for undocumented immigrants, and greater support for building a wall between the U.S. and Mexico, independently of other explanatory intergroup variables (e.g., prejudice, threat, and demographic characteristics). However, these associations tend to be moderated by ethnoracial background, such that although indifference to inequality predicts immigration policy attitudes among U.S.-born White Americans, it is not predictive of attitudes among U.S.-born Latino and Black Americans. Furthermore, these associations are not moderated by recent family history of immigration, suggesting that respondents’ group status in the U.S. ethnoracial hierarchy, and not the personal relevance of immigration, may well be driving these associations.

The aim of this essay is to study patterns in peoples behaviour in the subway. I analyse the subway as a liminal space and a non-place. Through ethnographic observations in the subway in Stockholm, and with the use of sensory autoethnography and rhythm analysis, I have gathered my data. I argue that there are two things that make the subway a liminal space and a non-place: the physical design of the room, and the norms that the people on the subway create and maintain. By analysing the rhythms of the subway I show that people sustain a collective rhythmic order by adapting and coordinating their behaviour. It is physically a neutral room and does not provide anything to do other than to sit or stand and wait. It is an in-between-space that people only pass through. With the use of technology, such as mobile phones and headphones, passengers can mentally disengage from the subway. The norm of the subway is to be indifferent towards each other and towards the space. By complying with these rules, passengers create a specific sort of community, an anti-communitas. Sellers, beggars and can collectors break these rules by interacting with the surroundings and by not utilising the subway as a space for transit. By using it as a place, they are using it incorrectly. The subway is a peculiar space with specific norms that, when followed, create a liminal space and a non-place.

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