Made available in DSpace on 2014-06-11T19:25:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-13Bitstream added on 2014-06-13T20:13:57Z : No. of bitstreams: 1 andrade_eb_me_mar.pdf: 681094 bytes, checksum: 49c93f89e5c6241300b80b9db5014037 (MD5) / L’objectif de cette étude est d’analyser le statut de la conscience et du corps chez Merleau- Ponty en prenant comme guide pour son interprétation de la pensée de Descartes. Nous comprenons surtout que l’étude des thèses merleaypontyenne, celles qui critiquent et problématisent les conceptions de la conscience soutenues par l’ontologie dualiste de Descartes, peut contribuer à une formulation d’une nouvelle approche de l’esprit qui ne reproduise pas les mêmes problèmes de cette ontologie, plus spécifiquement ceux qui ont du rapport avec l’interaction causale esprit/corps. L’intention est de montrer comment Merleau- Ponty construit sa lecture sur le dualisme cité et comment lui, il fait son opposition à ce fondement. Pour en faire nous nous arrêterons principalement sur les references à Descartes présentées dans la Phénoménologie de la perception et dans La structure du comportement en proposant, dans cette mesure, des subsides pour une possible lecture de l’oevre Le visible et l’invisible / O objetivo do presente trabalho é analisar o estatuto da consciência e do corpo no pensamento de Maurice Merleau-Ponty, tomando como fio condutor a sua interpretação do pensamento de Descartes. Em especial, entendemos que um estudo das teses merleau-pontianas, que criticam e problematizam as concepções de consciência alicerçadas sobre a ontologia dualista de Descartes, pode contribuir para a formulação de uma nova abordagem da mente que não reproduza os mesmos problemas desta ontologia, mais especificamente aqueles relacionados à interação causal mente/corpo. Desta forma, a intenção é mostrar como Merleau-Ponty constrói a leitura sobre o dualismo supracitado em sua obra, e como pretende objetar tal fundamento. Para tal, deter-nos-emos principalmente nas referências a Descartes presentes na Fenomenologia da percepção e também no apresentado em A estrutura do comportamento propondo, nesta medida, subsídios para uma possível leitura de O visível e o invisível

Dissertação (mestrado)—Universidade de Brasília, Programa de Pós-Graduação em Filosofia, 2012. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2012-10-22T09:50:59Z No. of bitstreams: 1 2012_MiguelMendoncadeAlvarenga.pdf: 1452537 bytes, checksum: 0f24c7c7bababa4f616bcd5db9cf3357 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2012-10-22T13:28:25Z (GMT) No. of bitstreams: 1 2012_MiguelMendoncadeAlvarenga.pdf: 1452537 bytes, checksum: 0f24c7c7bababa4f616bcd5db9cf3357 (MD5) / Made available in DSpace on 2012-10-22T13:28:25Z (GMT). No. of bitstreams: 1 2012_MiguelMendoncadeAlvarenga.pdf: 1452537 bytes, checksum: 0f24c7c7bababa4f616bcd5db9cf3357 (MD5) / Neste trabalho, pretendo contextualizar o livro Os Comunistas e a Paz, de Jean-Paul Sartre, que não possui nenhuma tradução no Brasil. Foi escrito em 1952, como uma coletânea de artigos do autor para a célebre revista que passou a dirigir após a Liberação: Les temps modernes. É um livro importante, pois marca o início do engajamento sartriano na causa comunista e a ruptura com Merleau-Ponty, que via, no livro, uma traição ao ideal de uma esquerda independente do Partido Comunista Francês. Para tanto, reconstituirei o fundo de cultura que animava a esquerda francesa na primeira metade do século XX, naquilo que Lottman denominou “Rive Gauche”, ou margem esquerda. O conjunto dos escritores, artistas e políticos em Paris, de 1930 a 1950. Depois, discutirei um pouco a filosofia de Sartre em sua dimensão existencialista, dialética, comunista; finalmente, discutirei, brevemente, o cerne ou a essência da crítica dirigida por Merleau-Ponty, bem como as cartas que levaram à ruptura entre os dois, até então, amigos próximos. No primeiro capítulo, é abordado o período e o processo de formação do comunismo francês, da Revolução Russa à guerra, e todo o contexto subseqüente, da Guerra Fria, que engendrou a indignação de Sartre, quando da prisão de Duclos e a redação do livro. No segundo capítulo, introduzo alguns elementos da filosofia de Sartre e, no terceiro, a crítica que Merleau-Ponty faz ao autor, crítica que passa a se delinear mais claramente em seu pensamento a partir da redação do livro em tela. Aí (neste capítulo), são apresentadas as divergências dos autores no que concerne a questões ontológicas de implicação política, à noção de engajamento (central na filosofia dos dois) e podem-se vislumbrar as conseqüências, para a filosofia contemporânea francesa do livro traduzido. _______________________________________________________________________________________ ABSTRACT / In this work, I contextualize the book The Communists and Peace, by Jean-Paul Sartre, which has no translation in Brazil. It was written in 1952 as a collection of articles by the author for the famous magazine he directed after the Liberation, Les Temps Modernes. It is an important book because it marks the beginning of Sartrean engagement in the communist cause and the break with Merleau-Ponty, who saw in the book a betrayal of the ideal of an independent left from the French Communist Party. To this end, I will try to reconstruct the culture that animated the French left in the first half of the twentieth century, what Lottman called "Rive Gauche", or the left margin. The group of writers, artists and politicians in Paris, from 1930 to 1950. Then I discuss some of Sartre's philosophy in its existential, dialectical, communist dimensions, and finally I discuss briefly the core or essence of the criticism directed by Merleau-Ponty, as well as the letters that led to the rupture between both, even then close friends. The first chapter addresses French Communism´s process of formation, from Russian Revolution to the Second World War, and all the subsequent context of Cold War, which has brought the wrath of Sartre and the writing of the book in reason of the arrest of Duclos. In the second chapter, I introduce some elements of Sartre´s philosophy, and in the third, the criticism that Merleau-Ponty directed to the author, a criticism that became clearer in his mind from the writing of the book on screen. Then (this chapter) presents differences of the authors regarding ontological questions of political implication, the notion of engagement (central for both). In this chapter might be foreseen the consequences for contemporary French philosophy of the book translated.

Orientador: Elisa Angotti Kossovitch / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-09T10:41:24Z (GMT). No. of bitstreams: 1 Reis_Magalidos_D.pdf: 9259963 bytes, checksum: 96abba94516a8bc653f74a60cdc42898 (MD5) Previous issue date: 2007 / Resumo: O estudo analisa a imagem da criança nas pinturas de Eliseu Visconti, Vicente do Rego Monteiro, Tarsila do Amaral e Lasar Segall. Compreende o período de 1890-1940 (aproximadamente), cujo eixo de problematização está na emergência de um movimento político, artístico e cultural. O período registra uma profunda mudança não só no papel social da criança, como também de sua representação nas artes plásticas, na literatura, na educação e no imaginário social. A arte sugere um ensaio de modulação da afeccionalidade social sobre a infância, o que permite trabalhar com aspectos ainda pouco explorados, no que diz respeito à imagem de crianças. Na pintura crianças tornam-se anjos, meninas enlaçam-se e enlaçam a composição da obra, corpos repousam sobre lençóis, meninos transfiguram a inquietude da puerícia. As paisagens são permeadas pelos enigmas da infância. As imagens da criança não são retratos de uma certa infância, o que faz a sua força é que elas são imagens políticas e inseparavelmente imagens de um inconsciente social, e sob esta ótica, são registros de corpos sempre falados, descritos e analisados por adultos, não tendo voz própria, sobre as formas como vêm sendo interpretados, expressos, percebidos. A orientação desta pesquisa caminhou no sentido de evitar proceder a uma simples e arbitrária ¿leitura¿ ou descrição das imagens, rejeitando procurar nelas uma possível intencionalidade do artista em representar uma idéia pré-estabelecida de infância, e mais ainda foi preciso refutar a idéia de que a imagem 'reflete¿ a vida do artista e suas experiências. A produção de uma pintura cujo tema seja a criança, não significa que se possa depreender dela uma visão de infância ¿possível¿ daquele momento histórico social. Daí a necessidade de recorrer a história da arte e, sobretudo, encontrar uma metodologia de estudos adequada à compreensão da infância que a arte torna visível / Abstract: This study analyses the image of children in the paintings of Eliseu Visconti, Vicente do Rego Monteiro, Tarsila do Amaral, and Lasar Segall. It encompasses the period of approximately 1890 to 1940, whose central line of problematics is the emergence of a political, artistic, and cultural movement. That period registers a profound change, not only in the social role of children, but also of their representation in the plastic arts, in literature, in education, and in social imagery. Art insinuates a test of modulation of social affectionateness on infancy, which permits that lesser explored aspects may be treated in regard to the image of children. Children in paintings become angels, little girls entwine themselves and become part of the composition of the painting, bodies lie on sheets, little boys transfigure the turbulence of childhood. Landscapes are permeated with the enigmas of infancy. Children¿s images are not portrayed with a defined infancy. What gives them strength is that they are political images, and images that are inseparable from social unconsciousness. It is through this perspective that they are records of bodies that are always talked about, and described and analyzed by adults, without manifesting through their own voices in regard to the forms that are being interpreted, expressed, and perceived. The orientation of this research advanced in the direction of avoiding a simple and arbitrary reading or description of the images, thereby rejecting the possibility of looking for any intention by the artist of presenting a pre-established idea of infancy. Even more so, it was necessary to refute the idea that an image reflects the life of the artist and his experience. The production of a painting whose theme is a child does not signify that it may infer the vision of a possible infancy at that historical social moment. Therefore, there is a need to resort to the history of art, and above all, find an adequate methodology of study for the comprehension of infancy that is made visible through art / Doutorado / Educação, Sociedade, Politica e Cultura / Doutor em Educação

O presente trabalho visa discutir, a partir das últimas obras de Merleau-Ponty, a articulação entre sua noção de desejo e o conceito de negativo. A pesquisa buscou primeiramente traçar o que o filósofo denomina de arqueologia do contato primordial do corpo com o mundo, buscando a camada pré-objetiva de abertura perceptiva a ele, a sentidos que não foram constituídos pelo sujeito, que o ultrapassam e lhe determinam vetores de sentido. Os temas arqueológicos enfocam as noções de instituição e passividade, a relação da corporeidade humana com a animalidade, e o esquema corporal como abertura estesiológica e libidinal ao mundo, questões que nos abrem a dimensão transtemporal e transespacial do corpo, que arrasta consigo um passado que retoma e antecipa as possibilidades do porvir. A partir desses tópicos, compreende-se que o desejo é busca de ser o dentro do fora e o fora do dentro no sistema de trocas do corpo com o mundo. É nesse sentido que se podem ressaltar algumas noções psicanalíticas, pois elas permitem apreender essa topologia arqueológica do contato, as estruturações de sentido que nos permitem significar o mundo, e que não são de autoria de uma consciência constituinte. Por outro lado, o trabalho discutiu a ideia de negativo na obra do filósofo, a partir de seu diálogo com Sartre, tratando-o a partir da noção de invisível e de imaginário, que representam o avesso e a espessura do ser, como um oco eficaz que se manifesta à percepção. Partindo dessas construções merleau-pontyanas, discute-se a relação desejo-negatividade, a partir da crítica que o filósofo faz a Sartre e à própria Psicanálise, que interpretam o desejo como, respectivamente, estando destinado ao fracasso, e de ser em sua essência falta por um objeto para sempre perdido. Focou-se então na compreensão de uma negatividade natural enquanto latência, espessura do sensível e do corpo, que é condição mesma da percepção e que delineia uma relação de desequilíbrio entre o sujeito e a inesgotabilidade do mundo. Concebendo a Natureza como esse tecido carnal que provoca a carne do corpo, e o corpo senciente enquanto dobra do sensível sobre si mesmo, como retomada e explicitação privilegiada dessa potência interrogativa da vida, pode-se ver que o desejo é inerente ao sentir, contato à distância, espessura denominada pela noção de negatividade natural. / The following thesis aims to discuss, from the latest works by Merleau-Ponty, the balance between the notion of desire and the concept of negative. The research looked for, at first, trace what the philosopher called archeology of the primordial contact of the body to the world, seeking the pre-objective layer of the perceptual opening to him, to senses wich were not composed by the subject, that exceeded himself and gave him arrays of sense. The archeologicals themes focus the notions of institution and passivity, the relation between human corporeality and animality, and the body scheme as esthesiologic and libidinal opening to the world, issues that bring us the transtemporal and trans-spatial dimensioning of the body, that draws a past which comes back and anticipates the possibilities of the future. Based on these topics, we understand that the desire is the seeking of being the inside of outside and the outside of the inside in the system of trading between the body and the world. In this sense we can highlight some psychoanalytic concepts, as they allow us to capture this archaeological topology of the contact, the structuring of the senses which allow us mean the world, and do not belong to a constitutive conciousness. On the other hand, the thesis discussed the idea of the negative in the work of the philosopher, from his dialogue with Sartre, dealing it from the notion of invisible and of imaginary, that represent the inside out and the thickness of the being, as a efficacious hollow that manifest itself to the perception. From these merleau-pontyans concepts, it is discussed the relation between desire and negativity, from the critical note the philosopher have made on Sartre and on his own Psychoanalysis, which interpreted the desire as, respectively, being intended to failure, and of being in its essence, the lack of an object forever lost. So, focused in the comprehension of a natural negativity while latency, thickness of the sensible and of the body, which is the same as perception and that outlines a imbalanced relationship between the subject and the inexhaustibility of the world. Conceiving the Nature as this flesh tissue that provokes the flesh of the body, and the body being sentient while fold from sensible over itself, as retaking and privileged explanation of this interrogative potency of the life, it is possible to realize that the desire is inherent to the feel, distance contact, through thickness called by the notion of natural nagativity.

Depuis la fin des années 1980, les Coopératives de production agricole (CPA) du Mouvement des travailleurs ruraux sans-terre (MST) au Brésil symbolisent, selon celui-ci, une « forme supérieure de coopération ». Pour le MST, la Cooperativa de Produção Agropecuária Nova Santa Rita (Coopérative de production agricole Nova Santa Rita, COOPAN) représente un modèle de réussite socio-économique d’une coopérative entièrement gérée selon le modèle du « travail collectif » : une communauté stable, rentable économiquement, respectant les principes environnementaux de l’agroécologie et où le travail et la vie quotidienne sont organisés de manière collective et démocratique. Une enquête de terrain attentive révèle, cependant, les soubassements conflictuels de la construction d’une communauté démocratique. Dans ce que nous appelons une « dialectique du conflit », les acteurs sociaux du MST doivent constamment équilibrer le rapport fragile et mouvant entre l’individuel et le collectif, l’horizontalité et la verticalité, l’économique et le politique. Appuyée sur une enquête de terrain s’étalant sur cinq ans et inspirée d’un cadre théorique construit principalement à partir de la phénoménologie politique de Maurice Merleau-Ponty et complété par les pensées de Claude Lefort et d’Hannah Arendt, cette thèse propose la phénoménologie politique comme méthode ethnographique. Nous examinons ainsi la construction de la communauté COOPAN en tentant de comprendre l’institution politique d’une communauté et de ses sujets. Les trente et une familles qui composent COOPAN font la route ensemble depuis presque trois décennies. Nous avons reconstitué cette trajectoire de vie et son fonctionnement actuel dans le but de saisir les différentes formes d’apparition et de transformation du politique ou, autrement dit, les manières par lesquelles se construisent les liens sociaux, les sentiments d’appartenance, les pratiques et les normes à partir desquels se déploie une communauté politique et ses sujets, toujours en mouvement. En d’autres mots, le but est de saisir comment les expériences politiques des sujets participent à instituer un ordre social autour d’un projet politique commun, en construction permanente.

The overall aim of this study is to analyze how the body is understood in the compulsory school subject physical education during the period 1976-2002. With pragmatism as the point of departure the texts of curricula, syllabi and articles from the physical education teacher's specialist press are analyzed. The analytical tools used are two perspectives of the body and human movement, one based on dualistic ideas and the other on Merleau-Ponty's phenomenology of the lived body. The analysis shows that there are differences in how the embodied person is understood in three different types of text. In the curricula the dualistic ideas where the individual is seperated into body and soul prevail. The picture is more complex in the syllabi whilst in the articles from the specialist press the lived body is found more often. In the articles from the specialist press there is a pattern that shows change over time where phenomenological ideas are more prominent towards the end of the period studied. The dissertation consists of three parts. In the first part there is an introduction to the study and theoretical perspectives are introduced, the second part consists of the analysis of the texts and in the third part these are discussed and possible didactic consequences presented.

Within the discipline of sociology human olfaction is rich with social significance yet remains a poorly charted frontier. Therefore, the following discourse is aimed toward the development of a foundation for the sociological study of olfaction. It is formed by the dual goals of unearthing the social history of olfaction and of providing a viable sociological account of the manner in which smells affect human ontology. From these goals arise the following research questions: (1) Have the meaning and social relevance of odors and the olfactory sensorium changed throughout different periods of history?; (2) How have those in the lineage of eminent sociological thinkers addressed the phenomenon of human olfaction during these periods?; and (3) What is the process by which aromatic stimuli are transformed from simple chemical compounds, drifting in the atmosphere, into sensations in a sensory field and then on to perceived objects, to subjects of judgment and interpretation, and finally to bases of knowledge which form and continually reform individuals in the world? The weaving of the sociohistorical tapestry of smell is undertaken to provide examples from thousands of years lived experiences as to the fluid and sociologically complex nature of individuals' olfactory senses. This historical information is presented in a narrative format and is synthesized from data gleaned from books, advertisements, articles in popular non-scientific magazines, as well as from the findings of studies published in medical/neurological, psychological, anthropological, and sociological scholarly journals. Regarding theoretical aim of this discourse, insights are drawn from Maurice Merleau-Ponty's phenomenological theory of human perception for the generation of a framework for the sociological study of olfaction. Merleau-Ponty's theoretical notions are modified, modernized, and refitted to more specifically fit the subject of human olfaction and to include all that has been discovered about the biological specifics of olfactory perception since the time of his writing. Taken in sum, this effort is an access point to the understanding of how olfactory sensory perceptions flow toward the ontological unfolding of individuals.

This work aims to pursue the roots and sources of intentionality. Intentional structure of consciousness is the very core of Edmund Husserl's phenomenology and plays the main role since his Logical investigations. The problem of intentionality is complicated and complex and resonates through the Husserl lifelong work Our starting point is Husserl's late work Erfahrung und Urteil. The reason why we choose this work is twofold. First, this work shows the thoughts which result from the life long investigation of problematics. And the second reason is, this work hasn't been the subject of examination as much as Husserl's earlier works so far. The key to our work is the perspective in which every phenomenon shows. That's the reason, why we follow intentionality in three perspectives, which gradually uncovers itselves. The first perspective is the descent from acts of judgment to the original layers of intentionality. This brings us to the second perspective, which is the instinctive intentionality. This is the subject of following part of our work. The exposing of instinctive intentionality underlines the role of embodiment. The importance of embodiment in regard to intentionality is the final perspective. We investigate this with help of Maurice Merleau-Ponty Phenomenology of perception. This will...

RÉSUMÉ EN ANGLAIS / ENGLISH SUMMARY : The Simultaneity of the Incompossible as the Index of the Vertical Being in the Philosophy of M. Merleau-Ponty The principal field of investigation of this paper is the late philosophy of Maurice Merleau-Ponty in the form the author gave it in his lectures during the nineteen-fifties and in the project of The Visible and the Invisible. More accurately, the goal is to clarify the relationship between what this author calls "vertical" Being and the aspect of reciprocal exclusivity, or incompossibility, of the segments of the field through which we have access to it. This structural characteristic is studied principally on the levels of the perception, our relationships with the others, the language and other human institutions. First, the author of the paper elucidates what he think is the reference point of this ontological philosophy, that is to say the concept of visibility. By means of an interpretation of the three fundamental structures of the visibility, the visible, the invisible, and the vision (voyant), the author demonstrates the profound ontological unity of the element of the visibility. The concept of the "institution" (Stiftung, institution) is then introduced to demonstrate how the field of the visibility is internally organized in a manner that surpasses...

”Chock” är reaktionen på Francis Bacons måleri som såväl konstnären som kritiker och betraktare återkommer till. Hans uttalade ambition att orsaka en chock direkt i nervsystemet fick honom att medvetet gillra fällor som avses slå igen i exakt rätt ögonblick hos betraktaren innan denne hinner intellektualisera kring hans verk. Den här uppsatsen syftar till att undersöka hur han gillrade dessa fällor och varför de fungerar. Den fenomenologiska förklaringsmodellen av en upplevelse grundar sig i att kunskapen och erfarenheterna lagrar sig i betraktarens kropp snarare än i dess sinne och används här som beskrivande teori för att åskådliggöra hur Bacons verk upplevs i kroppen. Maurice Merleau-Ponty och Gilles Deleuze studier i fenomenologi inom konsten ligger till grund för hur detta resonemang förs. Francis Bacons arbetsmetoder, som delvis baseras på förvrängningar och bearbetningar av fotografier, har påvisats av Katharina Günther i hennes arbete med att katalogisera Bacons kvarlåtenskap och belyser i uppsatsen hans medvetna strategi att skapa anatomiska asymmetrier. Dessa påverkar i sin tur exponeringsprocesser i vår hjärna som resulterar i den chock som Bacon avsåg, vilket de två neurobiologerna Semir Zeki och Tomohiro Ishizu visar i sin studie som förklaras i uppsatsen.