Thesis (Ph.D.)--Duquesne University, 2009. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 297-314) and index.

Zugl.: Leipzig, Universiẗat, Diss., 2006.

Ce travail tente de prendre la mesure de certaines des évolutions les plus significatives qui, sous le nom de «post-structuralisme», ont pu affecter la philosophie et la culture contemporaine dans son ensemble. Pour surmonter les difficultés liées à la trop grande généralité de la dénomination, on a choisi de privilégier des lectures suivies d'oeuvres de Deleuze, Derrida et Lyotard, qui servent de fil directeur tout au long de l'étude. Non que nous pensions que ces auteurs suffisent à résumer entièrement le mouvement de pensée dans lequel ils s'inscrivent. Mais ils présentent du moins l'avantage de le traverser très largement, et d'en avoir réfléchi la plupart des composantes. Suivre leurs trajectoires permet donc aussi de revenir sur ces composantes, de la réception post-phénoménologique du structuralisme «méthodologique» aux principaux travaux philosophiques qui en assument un certain héritage (particulièrement dans les oeuvres d'Althusser, Foucault et Lacan), et jusqu'aux gestes de démarcations par lesquels Deleuze, Derrida et Lyotard eux-mêmes en viennent à déterminer ce qu'on pourrait appeler l'originalité «supplémentaire» de leurs orientations. Dans la mesure où ce mouvement de pensée est communément caractérisé comme «français», ce travail tente aussi de rendre compte de la situation d'échanges philosophiques internationaux dans laquelle il s'élabore, et de la position singulière qu'il y occupe, qui conduit souvent à souligner son potentiel critique, sur les terrains de l'art, des moeurs ou de la politique. / This work tries to report and estimate some of the most significant evolutions that, under the name of «post-structuralism», have affected contemporary philosophy and culture. But, as the «post-structuralist» appellation seems obviously too general, Deleuze's, Derrida's ans Lyotard's texts are actually, all along this work, more specifically studied. Those texts don't indeed sum up by themselves the whole cultural mouvement. But they widely pass through it, and reflect on most of its components.Consequently, following their trajectories can be a way to come back to those components, from the post-phenomenological receipt of «methodological structuralism», to the most important philosophical works that assume a portion of its inheritance (especially Althusser, Foucault and Lacan), up to the assertion of Deleuze's, Derrida's and Lyotard's own originalities. As this mouvement is frequently said «french», this work also tries to report the international cultural and philosophical context in which it spreads out, and the particular position that it holds. This can lead to underline and estimate the value of its critical dimensions, in the spheres of art, morals or politics.

Made available in DSpace on 2014-06-11T19:33:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2009Bitstream added on 2014-06-13T19:23:30Z : No. of bitstreams: 1 silva_mrl_dr_mar.pdf: 731650 bytes, checksum: 2d3989bccb65ebe66cdeb00d7c8c46a2 (MD5) / A presente pesquisa parte do pressuposto adorniano da conversão da formação em semiformação e mito. O devir da semi-formação generalizada ocultou a experiência, dissimulando-a sob a pobreza da identificação com seu tempo; já nada distinto do sujeito, um homem novo, mas sempre velho a se tempo. Esta é também uma forma de barbárie, pois ao negar a experiência nega-se também a possibilidade de criação de si mesmo. Adotamos a metodologia da “ontologia do presente” de Foucault para apontar as formas com as quais queremos ser governados. Esta atitude de governo, na experiência, é impulso da aparição, do efêmero, é possibilidade artística e poética de fazer emergir aquilo que escapa à reflexão, deixando aparecer algo que ainda não existe. Apontamos, com Lyotard, que a possibilidade de verdade no âmbito da estética seria superior à própria reflexão filosófica, justamente pela afinidade e sintonia da estética com a singularidade da experiência no sujeito; sinalizamos a atitude de viver a própria vida, de chamar autenticamente a experiência de minha, como meio de não ceder à performance e ao espetáculo a que se converte a formação. / This search adorniano the assumption of the conversion training and training in a semimyth. The semi-training of becoming widespread hid the experience, masking it under the poverty of identification with their time, but nothing other than the subject, a young man, but where is the old time. This is also a form of barbarism, because by denying the negative experience is also the possibility of establishing itself. We adopted the methods of ontology of this brake to point the ways with which we want to be governed. This attitude of government, the experience, momentum is the appearance of ephemeral, is artistic and poetic ability to emerge from what escapes the reflection, leaving something that appears not yet exist. Go with Lyotard, that the possibility of truth within the aesthetic would be superior to their own philosophical reflection, precisely by affinity and the aesthetic keeping with the uniqueness of the experience in the subject, marked the attitude of living life itself, to draw the authentic experience of mine, as a means to not give the performance and the spectacle that is becoming the training.

La philosophie a tendance à ne pas concevoir le désir comme une notion historiquement connotée, mais plutôt comme un concept immuable. Le présent travail, au contraire, se propose de fournir des éléments pour l’élaboration philosophique d’une histoire du désir contemporain, s’articulant à travers des dispositifs et des discontinuités, des tendances et des moments de rupture. Notre objectif n’est pas de rédiger l’Histoire du désir et ses récentes transformations. En revanche, on se propose d’un côté de fournir des éléments pour pouvoir penser, philosophiquement, l’existence d’une histoire du désir, pour la fonder théoriquement ; de l’autre, de mettre en évidence, sans aucune prétention d’exhaustivité, certains des caractères définissant le désir de nos jours, certaines parmi les mutations qui, en premier lieu, nous ont suggéré l’existence d’une telle histoire encore toute à explorer. L’élaboration d’une telle histoire a été effectuée à partir d’une convergence entre la pensée de Deleuze, Foucault et Lyotard autour des notions principales structurant les présent travail : le désir, l’histoire, la notion de dispositif et celle de discontinuité. Néanmoins, nous avons croisé la pensée de ces auteurs avec d’autres, dans la tentative de souligner une convergence générationnelle. Dans l’histoire du désir contemporain on a reconnu un privilège à l’écran – à comprendre en tant que dispositif, au sens foucaldien du terme – à partir duquel on élaborera des tentatives de périodisation et on identifiera des discontinuités. Faire une histoire du désir contemporain signifie pour nous se demander comment l’on désire selon les écrans. / Philosophy tends to consider desire not as a historical notion, but rather as an immutable concept. Our work, however, aims to provide some elements for a philosophical elaboration of a history of contemporary desire, alternating dispositifs and discontinuity, tendencies and moments of rupture. Our purpose is absolutely not to define The History of desire and of its recent transformations. On the contrary, on one side we try to provide some theoretical elements in order to start thinking, philosophically, to a historicity of desire. On the other, without any claim of completeness, we try to identify some features defining the status of contemporary desire, by analysing some among the many mutations of desire which characterise our times and inspired this research in the first place. The elaboration of such a history mainly results from a convergence among the thoughts of Deleuze, Foucault and Lyotard, around the fundamental notions structuring this work, such as desire, history, dispositif, discontinuity. Nevertheless, we will often compare the thoughts of those authors with others, in order to highlight a sort of generational convergence. In the history of contemporary desire, we acknowledged a privilege to the screen – that has to be understood as a dispositif, in the large sense that Foucault gave at this notion. Thanks to its privilege, the screen will be the starting point for a periodisation of the history of contemporary desire and the identification of its discontinuities. How do we desire according to screens?

Ingolstadt, Univ., Habil.-Schr.--Eichstätt, 2007.

Drei fast zugleich veröffentlichte Texte französischer Philosophen zu lesen, mag zum Nachdenken über den Zusammenhang auffordern - hier soll einmal bewußt den Unterschieden nachgegangen werden, zum Erweis der Brüchigkeit des philosophischen Diskurses, der von vielen für manifest gehalten wird. Gibt es eine postmoderne, post-strukturalistische, post-analytische Philosophie? Das ist zweifelhaft. Es gibt Fraktionen. Es gibt so verschiedene Autoren wie Jean Baudrillard, JeanFrancois Lyotard und Jean-Luc Nancy.

Submitted by JOÃO PAULO COSTA DO NASCIMENTO null (jpcn@yahoo.com.br) on 2018-02-05T18:02:25Z No. of bitstreams: 1 NASCIMENTO JoaoPauloCosta DOUTORADO.pdf: 10002723 bytes, checksum: 0980dc4d7701ec421cc9535cd6563768 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-02-07T17:00:13Z (GMT) No. of bitstreams: 1 nascimento_jpc_dr_ia.pdf: 9990136 bytes, checksum: 46e34977933b901dfbcfb29d7403a9f7 (MD5) / Made available in DSpace on 2018-02-07T17:00:13Z (GMT). No. of bitstreams: 1 nascimento_jpc_dr_ia.pdf: 9990136 bytes, checksum: 46e34977933b901dfbcfb29d7403a9f7 (MD5) Previous issue date: 2017-12-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O filósofo francês Jean-François Lyotard (1924-1998) desenvolve uma estética calcada no conceito de sublime a partir de seus escritos sobre arte pertencentes às décadas de 1980 e 1990. Tais formulações são pertencentes ao seu período filosófico caracterizado como virada kantiana, embasado na leitura da filosofia crítica de Kant, porém, com nuances de influência burkeana. O presente trabalho tem por objetivo investigar os conceitos descritores desta estética do sublime de Lyotard, bem como a maneira como eles são utilizados no comentário de questões da música, em especial, das vanguardas musicais do século XX. Pretende-se problematizar o papel da música na constituição da estética de Lyotard, bem como o alcance e adequação dos compositores elencados pelo filósofo como exemplos de autores comprometidos com os valores do sublime. Apresenta-se por hipótese principal a afirmação de que o sublime de Lyotard encontra uma adequação privilegiada e singular na obra do compositor norte-americano Morton Feldman (1926-1987), devido à busca pelo despojamento do espírito-sujeito-consciência presente tanto na obra do filósofo quanto na obra ensaística e musical do compositor. Como consequência, conclui-se que uma crítica musical que deseja abordar as presentes questões do sublime demanda uma escrita ensaística que ecoa uma filosofia do acontecimento, evocando a abertura de determinação da linguagem em favor de uma maneira (e não um método) de investigação de tipo reflexiva, nos termos da leitura que Lyotard realiza da Crítica da Faculdade do Juízo de Kant. / The French philosopher Jean-François Lyotard (1924-1998) develops an aesthetic based on the concept of sublime from his writings on art from the decades of 1980 and 1990. Such formulations belong to his philosophical period characterized as Kantian turn, based on the reading of Kant's critical philosophy, but with nuances of Burke's influence. The present work aims to investigate the descriptive concepts of Lyotard’s aesthetic of the sublime, as well as the way they are used in the commentary of music issues, especially those of the musical avant-gardes of the twentieth century. It is intended to problematize the role of music in the constitution of Lyotard's aesthetics, as well as the scope and appropriateness of the composers listed by the philosopher as examples of authors committed to the values of the sublime. The main hypothesis is the assertion that Lyotard's sublime finds a privileged and singular fit in the work of the American composer Morton Feldman (1926-1987), due to the search for the divestiture of the spirit-subject-consciousness present both in the work of the philosopher and in the essayist and musical work of the composer. As a consequence, it is concluded that a musical critique that wants to address the present issues of the sublime demands an essayist writing that echoes a philosophy of the event, evoking the opening of language determination toward a manner (and not a method) of reflexive type of investigation, in terms of Lyotard's reading of the Kant’s Critique of the Faculty of Judgment.

I denna uppsats har kontaktytorna mellan det sublima och det absurda undersökts utifrån hur Lyotard och Camus definierar respektive begrepp. Uppsatsen har utgått från en forskningssituation där få jämförelser mellan dessa begrepp – som i sig kan te sig undflyende och vaga – verkar finnas. Syftet med undersökningen har således varit att låta nya perspektiv på de båda begreppen träda fram genom deras relation till varandra. Utifrån jämförelsen mellan det sublima och det absurda kan det konstateras att det tycks finnas klara kontaktytor mellan begreppen. Dessa kontaktytor har yttrat sig genom att begreppen delar likheter i följande avseenden: (1) de är båda negativa begrepp, (2) de innefattar liknande kritik mot rationalism, (3) båda begreppen innefattar moment av en för subjektet inledande känsla av hämmande som övergår i en stärkande känsla, (4) de påvisar distansen mellan subjektet och världen, (5) båda innefattar liknande anspråk på konsten som ett slags materialiserad form av deras egen innebörd. Utöver dessa direkta kopplingar uppmärksammades att det Camus kort beskriver som ”känslan av det absurda” kan ses som analogt med det sublima, vilket skulle kunna innebära att den absurda insikten, såsom Camus beskriver den är direkt kopplad till en sublim känsla. Alla dessa aspekter hänger förvisso samman, men det intressanta är att Lyotard och Camus skriver om dem på liknande vis i sina respektive texter. Relationen mellan begreppen kan således uttydas inte endast i generella, utan i specifika likheter.

<p>Studien undersöker det sublima i Stanley Kubricks rymdepos från 1968. Främst behandlas den estetiska dimensionen av begreppet men av stort intresse är också huruvida filmmediet rymmer en mediespecifik sublimitet. Fyra tänkare ligger till grund för förståelsen av begreppet så som det formuleras i den teoretiska inledningen av uppsatsen – Longinos, Edmund Burke, Immanuel Kant samt Jean-François Lyotard och varje tänkare erbjuder en unik förståelse av begreppet. Detta ger ett mångfacetterat begrepp som kommer att prägla det metodologiska förfarandet. De olika teoretiska uppfattningarna av begreppet låter sig delas in i en dikotomi om implicit respektive explicit sublimitet, och denna uppdelning ligger sedermera till grund för uppsatsens disposition: I det första analyskapitlet behandlas filmens övergripande struktur. Utifrån neoformalismens begrepp om fabel och sujett, proairetisk och hermeneutisk linje belyses filmens episodiska uppbyggnad och kausalitetens betydelse för det sublima, hur det sublima kommer till uttryck i relationen mellan händelser och representationen av dessa händelser. I analysens andra del fokuseras den explicita sublimiteten och det sublima som rumslig tilldragelse. I analysens tredje del behandlas det sublima som frambragt genom implicita medel, den utomrumsliga sublimiteten och de temporala implikationer som följer av denna. Ur filmvetenskaplig kanon beaktas i uppsatsen dessutom Gilles Deleuze och Jean Epsteins filmiska filosofier varpå det blir tydligt att dessa rymmer sublima implikationer. Rörelsebilden och tidsbilden borgar för olika slags sublimiteter och nytt ljus faller över fotogeniet då det problematiseras utifrån Kants tankar om smakomdömet.</p>