In the mid-nineteenth century, Paris served as the epicentre for artistic creation; artists flocked to the French capital in search of training, camaraderie, and, ultimately, success. Henri Fantin-Latour, Alphonse Legros, and James McNeill Whistler were amongst these hopeful artists in the 1850s. While each eventually created a thriving practise for himself, each also fought to establish his artistic career and identity during these early years. Because the narrative of a young, struggling artist is not an uncommon one, this stage is often brushed aside when examining the trajectory of these artists’ careers. However, such a dismissal does not allow for a full contextualization of an artist’s life and oeuvre. Fantin, Legros, and Whistler evidence this truth, both individually and as a small group. While attempting to define their maturing artistic identities, these three artists deliberately elected to join forces and become the Société des trois. This era bore witness to the birth of the artistic avant-garde, which elevated expression and individualism; with this in mind, the decision to develop a closed artistic society is unique. Fantin, Legros, and Whistler adhered to specific societal tenets and maintained loyalty to each other in an artistic environment that praised the individual. There are many reasons that supported their decision; for example, the Société enabled them to transition from the student to professional phases of their careers between 1858 and 1868. Eventually, as the choices the artists made in the formation of their artistic identities diverged, the Société was no longer necessary, and each member went his own way. In light of their decisions to unite as a formal society, Fantin, Legros, and Whistler’s period of maturation must be understood through the lens of the Société des trois. / Graduate / 2018-05-01

This thesis chronicles the development of Henri Fantin-Latour’s identity as a peintre-mélomane. Its purpose is to investigate how his multi-sensory impressions of music, particularly during performances of Richard Wagner’s operas and Hector Berlioz’s musical-dramatic works, would materialize into an aesthetic of vagueness. I examine the manner in which the scenic, acoustic, and acousmatic conditions in his physical environment heightened his awareness of a poetic and palpable sense of vagueness. I postulate that he aspired to simulate the sensorial aspects of his musical experiences in his operatic interpretations, lieder-inspired images, and allegorical fantasies. Through his inventive experimentation with lithography and his adaptation of painting techniques by his favorite old masters (most notably Eugène Delacroix), he developed a distinct facture that imbued his atmospheric prints, pastels, and paintings with an ineffable quality of vagueness. The correspondence between the auditory sensation, visual perception, and formal expression of the vague is also reflected in the picturesque language and musical nomenclature invoked by the contemporary criticism. The elusive sense of the musically vague in Fantin’s imaginative genre was a conspicuous leitmotif in the Salon reviews. An intertextual comparison between the musical discourse of the time and the critical reception of his artworks reveals absolute music to be a model of emulation. In light of music’s centrality in Fantin’s artistic enterprise, the conclusion explores the extent of Berlioz’s and Wagner’s aesthetic influence on his theory and practice.

Submitted by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-08-01T13:08:36Z No. of bitstreams: 1 DISSERTAÇÃO.pdf: 989586 bytes, checksum: 221727beed1d28f76362aeee4d53546e (MD5) / Approved for entry into archive by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-08-01T13:11:43Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO.pdf: 989586 bytes, checksum: 221727beed1d28f76362aeee4d53546e (MD5) / Made available in DSpace on 2017-08-01T13:11:43Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO.pdf: 989586 bytes, checksum: 221727beed1d28f76362aeee4d53546e (MD5) / A dissertação busca entender as condições de possibilidade de uma sociologia descentrada, os primeiros passos daquilo que pode ser chamado de uma nova revolução copernicana nas ciências sociais. Evitando mergulhar diretamente nesse terreno, o trabalho acaba sendo muito mais uma introdução, um percurso inicial, ou seja, os bastidores desse modo alternativo de conduzir o fazer científico. Gilles Deleuze será a referência o tempo todo, sendo aquele critério que organiza os argumentos, mesmo os mais sociológicos, como quando Garfinkel entra na discussão. Nesse sentido, o objetivo não é esgotar os limites da filosofia deleuziana ou o entendimento dos seus dois conceitos principais, mas apresentar, na medida do possível, sua ressonância na composição do pensamento social, sugerindo, embora não aprofundando, uma nova revolução copernicana á vista, um novo rumo trilhado pela sociologia nos dias de hoje. Deleuze, ironicamente, vai ter certos contornos, fronteiras, o que soa um pouco estranho dentro dos padrões de sua própria filosofia. Apesar de sua intensidade, de seu transbordamento, o signo precisa limitar aquilo que pode oferecer, nesse caso seu autor e suas ideias. Apesar da abertura do possível, da escapabilidade do Real, ele vai ser entendido dentro de um recorte sociológico, sendo nomeado, circunscrito, tornando a figura deleuziana apreensível, adequada, ao menos para os limites dessa dissertação e das próprias expectativas que circulam aqui, evitando se perder no cenário filosófico e sua estrutura analítica. / The dissertation seeks to understand the conditions of possibility of a “descentered sociology”, the first steps in what can be called a new Copernican revolution in the social sciences. By avoiding to plunge directly into this place, the work ends up being much more an introduction, an initial course, that is, the backstage of this alternative way of conducting the scientific doing. Gilles Deleuze will be the reference all the time, being that criterion that organizes the arguments, even the most sociological, as when Garfinkel enters the discussion. In this sense, the aim is not to exhaust the limits of Deleuzian philosophy or the understanding of its two main concepts, but to present, as far as possible, its resonance in the composition of social thought, suggesting, though not deepening, a new Copernican revolution in the horizon, a new direction followed by sociology today. Deleuze, ironically, will end up gaining boundaries, limits, which sounds a little strange within the standards of his own philosophy. In spite of its intensity, of its overflow, the sign must limit what it can offer, in this case its author and its ideas. Despite the openness of the possible, the fleetingness of the Real, it will be understood within a sociological cut, being named, circumscribed, making the Deleuzian figure apprehensible, adequate, at least for the limits of this dissertation and the very expectations that circulate here, avoiding lose itself in the philosophical scenario and its analytical structure.

No description available.

Musikaffären är inte enbart en marknadsplats, utan fungerar som en levande mötesplats för musikentusiaster. Studien visar på hur gitarrer och gitarr-relaterade föremål i en musikaffär bildar ett nätverk av både mänskliga och icke-mänskliga aktörer, där gitarren, i synnerhet, som bärare av betydelser, berättelser och symboler framträder som en central aktör. Syftet med denna studie är att visa på vilket sätt gitarren påverkar interaktioner och relationer i musikaffärsmiljön. Mitt empiriska material består av fem observationer och sju kvalitativa samtalsintervjuer med medarbetare och kunder jag träffat i en musikaffär i Stockholm. Som grund för min analys, där jag argumenterar att gitarren i musikaffärsmiljön kan betraktas som en central aktör i ett omfattande nätverk som omger gitarrer i egenskap av köpare, säljare, tillverkare och andra musikinstrument, använder jag det aktör-nätverksteoretiska ramverket (ANT), som betonar att icke- mänsklig materia också kan inneha sociala egenskaper och på så vis har makt att påverka och förändra sin omgivning. För att få en djupare förståelse för hur gitarrer – och andra materialiteter i musikaffärsmiljön – inverkar på interaktioner och relationer, kompletteras analysen med begreppet affordance, som betonar hur objekt och miljöer möjliggör specifika handlingar och interaktioner. / The music store is not just a marketplace but functions as a vibrant meeting place for music enthusiasts. This study illustrates how guitars and guitar-related items in a music store form a network of both human and non-human actors, with the guitar, in particular, emerging as a central actor bearing meanings, stories, and symbols. The purpose of this study is to demonstrate how the guitar influences interactions and relationships within the music store environment. My empirical material consists of five observations and seven qualitative interviews with employees and customers I met in a music store in Stockholm. As the basis for my analysis, where I argue that the guitar in the music store environment can be considered a central actor in an extensive network surrounding guitars as buyers, sellers, manufacturers, and other musical instruments, I use the actor-network theory (ANT) framework, which emphasizes that non-human actors can also possess social properties and thus have the power to influence and change their surroundings. To gain a deeper understanding of how guitars—and other materialities in the music store environment—affect interactions and relationships, the analysis is supplemented with the concept of affordance, which emphasizes how objects and environments enable specific actions and interactions.

The research offers an elaboration of genealogy as an approach to knowledge from Friedrich Nietzsche's original work on method (1887) processed by Michel Foucault (1971). It provides an interdisciplinary version that integrates theoretical and analytical contributions from the philosophy of knowledge, from exact and social sciences to artistic research. This work also takes into account those who have most explicitly enhanced the potentialities of geneaalogy such as Gilles Deleuze (1962) and, more recently, Carlo Sini (2007) and Giorgio Agamben (2010), but also embraces the reflections of researchers, from the past or present, whom I dare associate with the genealogy approach such as Max Weber (1922), Bruno Latour (2013), Fritjof Capra (2014), Diego Velázquez (1656) and the newer holistic and immersive approaches in digital art (Roy Ascott 2007). The result will be a "grid of intelligibility", an instrument of knowledge of the emerging phenomena that can be used for mappings and interdisciplinary networks and that, as in the original version (by Nietzsche and Foucault), intends to overcome the epistemological limits and disciplinary segmentation inherited by modernity. Such limits and segmentation are transferred in a special way in modern universities. For this reason, universities are not only the privileged object of this genealogical analysis, but also the field where its application is posed not only as a research practice or pedagogical tool, but also as a self-reflexive method on an organizational level. The genealogy of universities, therefore, is not just a speculative analysis, but a strategic and experimental choice, rather unusual, despite the vast literature available from a well-known text of Immanuel Kant (1798). Universities embody an intersection node among cultural, economic, political and technological trends, since their inception in the Middle Ages. They are the institutional entities that delegate big apparatus paradigm shifts that influence the approaches to knowledge of the people who live in a given social context in vehicular, transversal and vertical ways. Universities have always been the legitimised place to disclose knowledge approaches socially recognised. Their historical centrality and legitimacy has been renewed for more than five hundred years . In the contemporary world, their role is being compromised by global processes , neoliberalism and digitization in particular. This research will investigate the latter genealogically by focusing on the manifestations of resistance namely audit university and its development until the automation phase. In addition to contemporary authors such as Michael Power (1994), Laura Maran (2009), and Giovanni Leghissa (2012) - the theoretical framework will refer to Ivan Illich (1971), Edgar Morin (1999), but also Marshall McLuhan (1964) and those researchers that are currently involved in the analysis of the impact of media on the education system (Ben Fry, 2007, I. and M. Toru S. Vijay Kumar, 2008). It is an attempt to genealogically answer the question -What will the current audit universities become? This research has gone up to a drift that is more than a narrative exercise. It has pushed up to a prophecy that is only partly a fiction experiment namely automation in academia, which is the main research hypothesis. In an apocalyptic scenario automated universities represent an audit university involution, a result of hybridization among economic, technological, cultural and organizational phenomena. It is only by addressing this hybridization process that we can develop an alternative narrative. By following Antonio Caronia's (2008) approach, this research will use science-fiction language as a distortion of reality that allows creating, in Foucault's words, a doomsday scenario (a case of 'fiction historique') or an alternative perspective avoiding ideological risks. Along with contemporaries Derrick de Kerckhove (1998), Roy Ascott (2007), Marcello Giacomantonio (2007), Valeria Pinto (2012), Federico Butera (2007), I will summarize the works of Franz Kafka, Philip K. Dick and James Ballard, but also recent contributions from artistic and pedagogical research. Keywords: Genealogy, Grid of Intelligibility, Knowledge, Power, Control, Subjectivation, EHEA, Audit, Automation.

<p>How is space conceptualized? The question is central to subject theory in human geography. In the present dissertation, this issue is actualized in discussions of the virtual, space, and an ontology of becoming. The point of departure is that in human geography, as well as in the general discourses in society, a science fiction-like conception of the virtual has been dominant. The virtual is understood as another reality and as an absolute space. Predominant perceptions of the space and the virtual are problematized in Space in Becoming, and based on analyses of complex sets of ideas grounded in actor-network theory and Deleuzian geophilosophy, an alternative approach is formulated. The aim is to provide an enhanced conceptual understanding of space and the virtual. In order to fulfill the aim, three tasks are performed. Firstly, the prevalent conception of the virtual is presented. Secondly, a conception of space grounded in an ontology of becoming is constructed and defined, expressed in three postulates. Thirdly, the importance of the ontology of becoming and the postulates for the conception and conceptualization of space are discussed in relation to subject theory in human geography. Since the present work centers on treatment of concepts and ideas, a postulate method was selected. The postulate method also makes argumentation and discussion on theoretical and analytical levels possible. The outcome of the project is formulated in three postulates – actants do space, assemblages fold space, and the virtual is a real dimension of space. Accordingly, the main contribution to the conceptual understanding of space and the virtual is the construction and specification of the three postulates. The notion of the virtual as an ontological dimension emerges, with direct implications for the conception and conceptualization of space. The ontology of becoming offers an alternative point of departure, a different perspective on the virtual, and thereby also on virtual geography. This is further elucidated by returning to the point of departure for the dissertation project. The postulates contribute to subject theory in human geography by providing an alternative point of departure for future theoretical research and the formulation of new theories. Accordingly, the particular conception of space expressed in the three postulates brings a challenge in terms of both method and vocabulary.</p>

How is space conceptualized? The question is central to subject theory in human geography. In the present dissertation, this issue is actualized in discussions of the virtual, space, and an ontology of becoming. The point of departure is that in human geography, as well as in the general discourses in society, a science fiction-like conception of the virtual has been dominant. The virtual is understood as another reality and as an absolute space. Predominant perceptions of the space and the virtual are problematized in Space in Becoming, and based on analyses of complex sets of ideas grounded in actor-network theory and Deleuzian geophilosophy, an alternative approach is formulated. The aim is to provide an enhanced conceptual understanding of space and the virtual. In order to fulfill the aim, three tasks are performed. Firstly, the prevalent conception of the virtual is presented. Secondly, a conception of space grounded in an ontology of becoming is constructed and defined, expressed in three postulates. Thirdly, the importance of the ontology of becoming and the postulates for the conception and conceptualization of space are discussed in relation to subject theory in human geography. Since the present work centers on treatment of concepts and ideas, a postulate method was selected. The postulate method also makes argumentation and discussion on theoretical and analytical levels possible. The outcome of the project is formulated in three postulates – actants do space, assemblages fold space, and the virtual is a real dimension of space. Accordingly, the main contribution to the conceptual understanding of space and the virtual is the construction and specification of the three postulates. The notion of the virtual as an ontological dimension emerges, with direct implications for the conception and conceptualization of space. The ontology of becoming offers an alternative point of departure, a different perspective on the virtual, and thereby also on virtual geography. This is further elucidated by returning to the point of departure for the dissertation project. The postulates contribute to subject theory in human geography by providing an alternative point of departure for future theoretical research and the formulation of new theories. Accordingly, the particular conception of space expressed in the three postulates brings a challenge in terms of both method and vocabulary.

Made available in DSpace on 2016-06-02T19:16:38Z (GMT). No. of bitstreams: 1 5794.pdf: 1648532 bytes, checksum: c6db9dd06241a1ffc6f1d32c9735a13e (MD5) Previous issue date: 2014-02-19 / Financiadora de Estudos e Projetos / This study investigates, based on the theories of Latour, the way one interact and articulate socio-technical networks in order to reinforce the technologies. To support the research we used the concept of socio-technical networks and translated it into the development of technologies and innovations, instead of using it like the author purposed, it is, to evaluate and understand the academic production and its dynamics. On a second moment, we investigated the relationship between the culture of sugarcane, and the developments that this culture has endured over the centuries, culminating in the direction of the current generation of sustainable energy. Yet at this point, are identified the actors in the network, linked to the development of ethanol. In a third step the analysis is performed, for which are important to understand, who the actors are, whether they are strong or weak, and indentify the responsible for developing and positioning the network. The case study takes place in the city of Ribeirão Preto, where are located important actors to the sugarcane economy. / A presente pesquisa investiga baseada nas teorias de Latour, a maneira como se articulam e interagem redes sócio-técnicas, que visam consolidar tecnologias. Para embasar a pesquisa é utilizado o conceito de redes sócio-técnicas, que foi traduzido para o desenvolvimento de tecnologias e inovações atuais, diferente do utilizado pelo autor para tratar da produção acadêmica e sua dinâmica. Em um segundo momento, investiga-se a relação entre a cultura da cana-de-açúcar e os desdobramentos que essa cultura tem sofrido ao longo dos séculos, culminando, hoje, na direção da geração de energia sustentável. Ainda neste momento, são identificados quais os integrantes da rede ligada ao desenvolvimento de etanol. Em um terceiro momento é realizada a análise, no qual é estudada a rede, levantando questões como quem são os atores responsáveis pelo desenvolvimento e qual formato que a rede vem tomando. O estudo de caso se dá na cidade de Ribeirão Preto onde está localizado um dos principais centros econômicos ligados ao mercado de cana-de-açúcar.

English Abstract This Master Degree (Mgr.) thesis, takes up the topic of so called Military Revolution theory debate, focusing on historical and social developmental process, unfolding in the Early modern Europe. Military revolution is conceptualised as a source of far reaching societal change, having a civilisational dimension, contributing to overall weberian rationalisation process, happening in the Occident. In this text, military revolution is theoretically approached as a non-substantional developmental process and its structure and dynamics are analyzed using customized version of actor-network-theory of Bruno Latour. In this attempt, usual assumptions of natural ontological continuity, totality and developmental character of social realm are critically suppressed. Theoretical outcome of this thesis, based upon historical evidences, confirms, that even using this profoundly critical approach, military revolution possesses a distinctive quality of a developmental process and it can serve as a strong cognitive instrument of social sciences for researching Early modernity in Europe. Powered by TCPDF (www.tcpdf.org)