This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a type of representation. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation. This relationship is infused through a film text according to various modes of differentiation: between the viewer and viewed, speaker and spoken or what, using principles of phenomenology, I call the problem of subject-object relations. In this study I use this framework of subject-object relations in order to re-conceptualize the problem of film representation and to systematize the fundamental debates in film theory. I will argue that even oppositional theories of film representation can be reconciled through their attempt to understand this immanent field as being organized so as to structure a relationship between the representation and an origin of meaning, or subject-function. This relationship is what I call a system of reference. The filmic subject-function is traditionally located within the camera itself or hi the diegetic subjectivity of a character; I will call these two systems of reference, respectively, objective and subjective representation. And, through a reconstruction of Deleuze's Cinéma project, I will argue that the immanent field of film representation is a constant fluctuation between these two poles, a dialogic circulation of interacting agencies and discourses. This thesis illustrates this fluctuation through a comparative analysis of two French filmmakers, Alain Resnais and Jean-Luc Godard. I will argue that, illustrating similar goals as one finds in the works of Merleau-Ponty and Deleuze, these two filmmakers radically deconstruct film codes in order to destroy the conventional division between interior and exterior that is imposed by classical notions of subjectivity.

This thesis has its starting-point in a recognition that, so far, Maurice Blanchot's work has been considered as posing its critic an impossible problem. In recognising this, however, it does not seek merely to provide advance justification for its own shortcomings. On the contrary, it sets out to demonstrate that the impossibility of accounting for Blanchot's work arises not simply because he is a 'difficult' author, but because his sole ambition has been to call into question the entire categoric framework of possibility in terms of which we seek to approach him. The task it seeks to fulfil is thus to locate the gradually occurring break with traditional categories which is at the heart of Blanchot's work. On the basis of close attention to the variants between his finished works and the original texts which constitute them, it seeks to transform his work from the forbidding, self-sufficient universe it is generally taken to be, and, by replacing Blanchot in his neriod, to show how he brings about a gradually evolving transmutation of the forms and structures within which literature is traditionally contained. The period it examines lies between the appearance of Thomas l'obscure in 1941 and that of L'Espace littéraire in 1955. More precisely, by detailed study of L'Arrêt de mort and of the development of his criticism from La Part du feu to L'Espace littéraire, it seeks to reveal how, in the domain of fiction and in that of criticism, Blanchot sets about subverting the very structure of language, preparing the way for the new literary idiom which is his today, and in which fiction and theory coexist in a single philosophical discourse of great originality.

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Alan Sokal has questioned the postmodern assertion that 'science is ... a "myth'', a "narration" ... a "social construction'" (1998: x). This dissertation examines his reasons for rejecting this allegedly postmodern declaration. Firstly, it suggests that the basis for Sol'1ll's contention that a 'true' world exists beyond one's awareness of it extends to an attack on modem philosophy, and is not limited to its postmodern component. Then, it describes defences of the 'linguistic construction' of science as thinly veiled attempts at emulating scientific discourses. In a more speculative vein, the dissertation goes on to evaluate claims made against science in terms of its connection to warfare; its insensitivity to mythology, and its generally misdirected values. It is in terms of value that the dissertation detects an analogous relationship between the discourses of mythology and science. Finally, a playful 'postmodern' reading is attempted of Sol'1ll's use of fiction in establishing the truth of his assertions. / English Studies / M.A.(English)

Alan Sokal has questioned the postmodern assertion that 'science is ... a "myth'', a "narration" ... a "social construction'" (1998: x). This dissertation examines his reasons for rejecting this allegedly postmodern declaration. Firstly, it suggests that the basis for Sol'1ll's contention that a 'true' world exists beyond one's awareness of it extends to an attack on modem philosophy, and is not limited to its postmodern component. Then, it describes defences of the 'linguistic construction' of science as thinly veiled attempts at emulating scientific discourses. In a more speculative vein, the dissertation goes on to evaluate claims made against science in terms of its connection to warfare; its insensitivity to mythology, and its generally misdirected values. It is in terms of value that the dissertation detects an analogous relationship between the discourses of mythology and science. Finally, a playful 'postmodern' reading is attempted of Sol'1ll's use of fiction in establishing the truth of his assertions. / English Studies / M.A.(English)

Orientador: Silvio Donizete de Oliveira Gallo / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-09T15:40:50Z (GMT). No. of bitstreams: 1 Marques_Davina_M.pdf: 421552 bytes, checksum: 2226fd4158b7b4d1e3c394f4308af82c (MD5) Previous issue date: 2007 / Resumo : Reafirmando as potências que existem na filosofia e na literatura, através de encontros entre textos de Gilles Deleuze-Félix Guattari e de contos de João Guimarães Rosa, este trabalho discute a educação como plano de imanência, como promotora de agenciamentos, como experimentação. Destacam-se também, neste texto, além de imanência e agenciamento, o conceitos de rizoma; territorialização/desterritorialização/reterritorialização; e rostidade. A discussão teórica é atravessada por textos literários que vibram os conceitos. A literatura pulsa criação, é ritmo que convida a. A arte, tão presente nos escritos de Deleuze-Guattari, atualiza também aqui os conceitos filosóficos, repetindo-os. Nessa repetição, em uma escrita-experimentação, repleta de movimentos, atravessada, que pulsa, que segue caminhos tresloucados, que faz fugir e agir, que evita um único rosto, reafirma-se a potência da educação. Cumprindo seu papel de dissertação de mestrado em Filosofia da Educação, o texto busca movimentar o nosso pensamento em uma área aberta, povoada por filósofos e artistas, que a atravessam com seus saberes. Por sugestão dos membros da banca examinadora, anexei à dissertação o filme-apresentação em DVD que fiz para a exposição deste trabalho no dia da defesa. Uma experimentação também, outra linguagem para falar desta e pensar a educação / Abstract : Reassuring the potentiality of philosophy and literature, through encounters of texts by Gilles Deleuze-Félix Guattari and short stories by João Guimarães Rosa, we have considered education as a plane of immanence, as a possibility of assemblage, as experimentation. Other philosophical concepts will be observed in education: rhizome, territorialization/deterritorialization/reterritorialization, and faciality. The theoretical argument will be related to literary texts which are connected to the concepts. Literature pulses creation, it is an inviting rhythm. Art, so present in Deleuze-Guattari¿s writings, actualizes the philosophical concepts, and it repeats them. In repetition, in na experimentation-writing, full of movements, crossings, pulsations, that follows surprising paths, that causes flight and acting, that avoids an only face, we can assure the potentiality of education. It is a master¿s dissertation in Philosophy of Education that aims to make our thoughts of education more open, by interconnecting philosophy and art, and the ways their specific knowledge is intertwined. A film-experimentation used to present this dissertation is attached to the written material, as suggested by the examining board / Mestrado / Filosofia da Educação / Mestre em Educação