Taking at least two roles in Mozart's opera Cost fan tutte, in addition to my borrowing of its subtitle and some of its form, I will argue that works of art do not lie down on any couch of wild analysis. Rather, I will say, it is the viewer of a work who submits to an analysis in the encounter. A 'psychoanalysis of art' has become rather commonplace, and in this method of interpretation the intentionality of the artist, linked to individual psychic formations, are of paramount importance, understood as evidenced in the work of art. While works of art may indeed reveal truths about the artist, they may also - and more interestingly - show something about the psychic structure of the viewer. This is suggested by Jacques Lacan, as he links the presence of the analyst with the presence of the work of art in the elaboration of his theory of objet a and the gaze in The Seminar. Book XI. He outlines a theory of art in which it is the work that brings the viewer to speech, through the structure of the relationship between them. In this relationship, the work of art is a paradoxical object, for it is both the thing and effect that cannot be represented, and the thing and effect that indicates its absence by its presence. I will take up the proposition that the work of art may occupy the place of the analyst in a number of ways, in order to examine its effects upon the relationship between work of art and its viewer. The effects are at the level of structure and I continue to take the opera as my model, as both work of art and the discursive means by which the effects of a work of art may be explored. I am tuneful, if at times repetitive, malicious, or capricious, throughout, and there will be an ensured encounter, good, bad, or quite simply, missed.

Thesis (Th. M.)--Westminster Theological Seminary, Philadelphia, 1997. / Includes bibliographical references (leaves 194-201).

Ownership Land (object, subject-matter and content) The aim of my thesis is to give a brief owerview of ownership land, namely its object, subject-matter and content. The reason for choosing this topic is that with no doubí belongs to the current issues in the field. Primarily, considering the object ownership land, ie land and its special features, mainly its limited quantity. The thesis is composed of four parts further divided into chapters and subchapters. Part one deals with object of ownership land. The land has certain special characteristics: it has a multifunctional and indispensable character of the land, the limited extent and the irreplaceability, the fact that the land is not a result of human activities and finally, the special characteristic that the land is not consumed or destroyed by using. In this chapter is land also defined as a thing and as a plot of land. An important and signifiant institute of Land law is purpose-categorization of the land. I deal with that issue at the end of this part. Part two is focused on subjects-matter of ownership land. There is an interpretation of natural persons, legal entities, territorial self-governing units and state. Just as other things also the land may be owned by more than one owner. This issue is engaged in a chapter on co-ownership....

<p>The purpose of this essay is to define the meaning of the concept of crime victim and how the crime victim as a concept is constructed. The question is answered through an investigation of the discourse that constructs and reproduces the crime victim. Furthermore the purpose is to open a theoretical discussion which aims to clarify whether or not the crime victim is a subject or an object through an examination of how the individual is constructed as a crime victim by the crime victim discourse.</p><p>The essay takes a theoretical point of view based on a mixture of Michel Foucault’s and Ernesto Laclau & Chantal Mouffe’s discourse theories. The method used to organize the research – regarding the meaning of the concept of crime victim – is Laclau & Mouffe’s discourse analysis which is an extension and a part of the theory mentioned above.</p><p>The discourse analysis creates a model of the crime victim discourse which answers the question of how the concept of crime victim is constructed, and how this concept should be understood. By observing the construction closely – of the individual as a crime victim – a discussion concerning the crime victim as a subject or an object is elaborated upon. Throughout the discussion the view of the subject as a construction is questioned and another theoretical complementary addition is being made – to the discourse theory – to solve the questions that otherwise would have been left unsolved. The theory which is brought in to complement the discourse theory at this point is Emma Engdahl’s theory about the elementary forms of social life.</p><p>The essay ends in five conclusions which together answer the essays questions in order to fulfil its purpose. The conclusions are: (1) The concept of crime victim is defined by two statements: (a) A crime victim is a person who has been subjected to a crime and has suffered pain. (b) All crime victims are in need of redress. (2) A crime victim who has been constructed exactly like the pattern of the concept of crime victim is an object. (3) The crime victim is a construction of an individual with innate capability to create a subject. (4) The discourse of the crime victim is trying to construct an object of a subject. (5) Whether the crime victim is a subject or an object depends on how the individual chooses to conduct himself in relation to the concept of crime victim used in the discourse.</p> / <p>Syftet med denna studie är att ta reda på vad brottsofferbegreppet innebär, och hur brottsofferbegreppet är konstruerat. Frågan besvaras genom en kartläggning av den diskurs som har konstruerat och reproducerar brottsoffret. Vidare syftar studien till att öppna en teoretisk diskussion som har för avsikt att klargöra om brottsoffret är ett subjekt eller ett objekt genom att titta på hur brottsofferdiskursen konstruerar individen till ett brottsoffer.</p><p>Studien har tagit utgångspunkt i både Michel Foucaults och Ernesto Laclau & Chantal Mouffes diskursteorier. Den arbetsmetod som används i studien är Laclau & Mouffes diskursanalys vilken bör ses som en förlängning och en del av den teoretiska utgångspunkten som nämnts ovan.</p><p>Den diskursanalys som genomförs i studien målar upp en modell av brottsofferdiskursen vilken svarar på frågan om hur brottsofferbegreppet konstrueras och hur begreppet ska förstås. Genom att titta på hur individen konstrueras som ett brottsoffer utvecklas en diskussion kring brottsoffret som ett subjekt eller ett objekt. I diskussionen uppkommer en kritisk hållning till att se subjektet som en konstruktion och ytterligare en teoretisk komplettering till diskursteorin görs för att lösa de frågor som annars skulle ha lämnats obesvarade. Den teori som här förs in i diskussionen och förenas med diskursteorin är Emma Engdahls teori om det sociala livets elementära former.</p><p>Uppsatsen mynnar ut i fem slutsatser som tillsammans svarar på studiens frågeställningar och uppfyller dess syfte. Dessa slutsatser är: (1) Definitionen av brottsofferbegreppet är tvådelad: (a) Den individ är ett brottsoffer som utsatts för ett brott och därav oskyldigt lidit skada. (b) Alla brottsoffer är i behov av upprättelse. (2) Ett brottsoffer som är helt konstruerat efter brottsofferbegreppets mönster är ett objekt. (3) Brottsoffret är en konstruktion av en individ med medfödda förmågor att skapa ett subjekt. (4) Brottsofferdiskursen försöker att göra ett objekt av ett subjekt. (5) Om brottsoffret är ett subjekt eller ett objekt beror på hur individen väljer att – i brottsofferdiskursen – positionera sig till begreppet brottsoffer.</p>

The purpose of this essay is to define the meaning of the concept of crime victim and how the crime victim as a concept is constructed. The question is answered through an investigation of the discourse that constructs and reproduces the crime victim. Furthermore the purpose is to open a theoretical discussion which aims to clarify whether or not the crime victim is a subject or an object through an examination of how the individual is constructed as a crime victim by the crime victim discourse. The essay takes a theoretical point of view based on a mixture of Michel Foucault’s and Ernesto Laclau &amp; Chantal Mouffe’s discourse theories. The method used to organize the research – regarding the meaning of the concept of crime victim – is Laclau &amp; Mouffe’s discourse analysis which is an extension and a part of the theory mentioned above. The discourse analysis creates a model of the crime victim discourse which answers the question of how the concept of crime victim is constructed, and how this concept should be understood. By observing the construction closely – of the individual as a crime victim – a discussion concerning the crime victim as a subject or an object is elaborated upon. Throughout the discussion the view of the subject as a construction is questioned and another theoretical complementary addition is being made – to the discourse theory – to solve the questions that otherwise would have been left unsolved. The theory which is brought in to complement the discourse theory at this point is Emma Engdahl’s theory about the elementary forms of social life. The essay ends in five conclusions which together answer the essays questions in order to fulfil its purpose. The conclusions are: (1) The concept of crime victim is defined by two statements: (a) A crime victim is a person who has been subjected to a crime and has suffered pain. (b) All crime victims are in need of redress. (2) A crime victim who has been constructed exactly like the pattern of the concept of crime victim is an object. (3) The crime victim is a construction of an individual with innate capability to create a subject. (4) The discourse of the crime victim is trying to construct an object of a subject. (5) Whether the crime victim is a subject or an object depends on how the individual chooses to conduct himself in relation to the concept of crime victim used in the discourse. / Syftet med denna studie är att ta reda på vad brottsofferbegreppet innebär, och hur brottsofferbegreppet är konstruerat. Frågan besvaras genom en kartläggning av den diskurs som har konstruerat och reproducerar brottsoffret. Vidare syftar studien till att öppna en teoretisk diskussion som har för avsikt att klargöra om brottsoffret är ett subjekt eller ett objekt genom att titta på hur brottsofferdiskursen konstruerar individen till ett brottsoffer. Studien har tagit utgångspunkt i både Michel Foucaults och Ernesto Laclau &amp; Chantal Mouffes diskursteorier. Den arbetsmetod som används i studien är Laclau &amp; Mouffes diskursanalys vilken bör ses som en förlängning och en del av den teoretiska utgångspunkten som nämnts ovan. Den diskursanalys som genomförs i studien målar upp en modell av brottsofferdiskursen vilken svarar på frågan om hur brottsofferbegreppet konstrueras och hur begreppet ska förstås. Genom att titta på hur individen konstrueras som ett brottsoffer utvecklas en diskussion kring brottsoffret som ett subjekt eller ett objekt. I diskussionen uppkommer en kritisk hållning till att se subjektet som en konstruktion och ytterligare en teoretisk komplettering till diskursteorin görs för att lösa de frågor som annars skulle ha lämnats obesvarade. Den teori som här förs in i diskussionen och förenas med diskursteorin är Emma Engdahls teori om det sociala livets elementära former. Uppsatsen mynnar ut i fem slutsatser som tillsammans svarar på studiens frågeställningar och uppfyller dess syfte. Dessa slutsatser är: (1) Definitionen av brottsofferbegreppet är tvådelad: (a) Den individ är ett brottsoffer som utsatts för ett brott och därav oskyldigt lidit skada. (b) Alla brottsoffer är i behov av upprättelse. (2) Ett brottsoffer som är helt konstruerat efter brottsofferbegreppets mönster är ett objekt. (3) Brottsoffret är en konstruktion av en individ med medfödda förmågor att skapa ett subjekt. (4) Brottsofferdiskursen försöker att göra ett objekt av ett subjekt. (5) Om brottsoffret är ett subjekt eller ett objekt beror på hur individen väljer att – i brottsofferdiskursen – positionera sig till begreppet brottsoffer.

In this thesis viewpoints of Hegel's philosophy of history were confronted with selected fields of 20th century social theory. The Enlightenment was chosen as a keyword. In Hegel's Phenomenology of Mind the Enlightenment is a mode of experience of consciousness, or a phenomenon of Spirit in its history, a phenomenon which is becoming outdated in his time. To illustrate such overcome this conception of Enlightenment is demonstrated on Kant's article The answer to a Question: What is Enlightenment?. Thesis then examines the way in which had Hegel's interpretation inspired Critical theory - specifically Adorno's and Horkheimer's Dialectic of Enlightenment and Marcuse's Reason and Revolution. The last part of thesis is focused on the broader field of social theory to find manifestations of thought stream begun by Hegel. It finds it out especially in thought of Gadamer in considerably radical form calling to a question the epistemology of humanities till his present. Viewpoints emerged from Hegel's philosophical reaction to the Enlightenment represent still current counterpart of neopositivist approaches and a relevant reference point in epistemological uncertainty and in finding out an adequate socio-historical role of humanities.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-08T10:17:27Z No. of bitstreams: 2 Tese - Cynthia Maria Jorge Viana - 2015.pdf: 1207340 bytes, checksum: 5a19ecba37a30f80fc9f80e67dd58190 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-08T10:19:26Z (GMT) No. of bitstreams: 2 Tese - Cynthia Maria Jorge Viana - 2015.pdf: 1207340 bytes, checksum: 5a19ecba37a30f80fc9f80e67dd58190 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-08T10:19:26Z (GMT). No. of bitstreams: 2 Tese - Cynthia Maria Jorge Viana - 2015.pdf: 1207340 bytes, checksum: 5a19ecba37a30f80fc9f80e67dd58190 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This PhD research, developed in the Postgraduate Program in Education, following the line of research Foundations of the Educational Processes and based in the Critical Theory of Society of the Frankfurt School, mainly in the contributions of the German philosopher Theodor W. Adorno, aimed at reflecting about the essay according to his text The Essay as Form (Der Essay als Form). This study took as an emblem the procedure of reason revealed by the essay, which, also as a procedure of reason and form of exposition, is constituted through mediations that allow to think about its epistemological potentialities as another procedure of reason. Thus, this dissertation researches such procedure in the constitutive mediations: the relations of subject and object, form and content and reason and experience. Such mediations dispense with essay and can very well be investigated by means of other objects. In the essay, they make it possible to denounce and criticize the domain of instrumental reason and the knowledge that is established as ideology. If the historical tradition of essay leads to Montaigne, with the publication, in 1580, of Essais – in which the object of the essay is the subject Montaigne, and the content of its form is the author’s own life –, with Adorno the essay is the synthesis of mediations, groping intention, stage of the intellectual experience that exposes contents that can only be exposed in this other procedure. In revealing itself through the fragment in a fragmented, unsystematic and discontinuous way, the essay is a negative praxis that makes possible the experience in the genuine contact with objects. The essay, by means of its procedure and exposition, guards the condition of possibility of the knowledge and different communication between a real subject and an object that is also real. Its form is content and its content is form and, in this sense, the essay does not give in to lighten that which obstructs experience. Definitely, the essay moves away from the line of action of the culture industry for not condoning with an accelerated and operational textual communication. It explicitly resists becoming a totalizing language. Thus, the essay is a protest against the domain of operational reason and science. / Esta pesquisa de doutoramento, desenvolvida no Programa de Pós-graduação em Educação, na linha de pesquisa Fundamentos dos processos educativos, com base na Teoria Crítica da Sociedade da Escola de Frankfurt, principalmente, nas contribuições do filósofo alemão Theodor W. Adorno, teve como objetivo refletir sobre o ensaio a partir de seu texto O ensaio como forma (Der Essay als Form). Tomou-se como emblema o procedimento de razão revelado pelo ensaio, que, também como um procedimento de razão e forma de exposição, constitui-se por meio de mediações que permitem pensar sua potencialidade epistemológica como um procedimento de razão outro. Investiga-se tal procedimento em três mediações constitutivas, as relações: sujeito-objeto, forma-conteúdo e razão-experiência. Tais mediações prescindem do ensaio e podem muito bem ser investigadas por intermédio de outros objetos. No ensaio, elas possibilitam realizar a denúncia e a crítica ao domínio da razão instrumental e ao conhecimento que se estabelece como ideologia. Se a tradição histórica do ensaio leva a Montaigne, com a publicação em 1580, de Essais – cujo objeto do ensaio é o sujeito Montaigne, e o conteúdo de sua forma, a própria vida desse autor –, com Adorno o ensaio é síntese de mediações, intenção tateante, palco da experiência intelectual que expõe conteúdos que só podem ser expressos nesse procedimento outro. Ao se revelar pelo fragmento de modo fragmentado, assistemático e descontínuo, o ensaio é práxis negativa que possibilita a experiência no contato genuíno com os objetos. O ensaio, por meio de seu procedimento e exposição, resguarda a condição de possibilidade do conhecimento e comunicação diferençada entre um sujeito real e um objeto também real. Sua forma é conteúdo e seu conteúdo é forma, e, nesse sentido, o ensaio não cede em desanuviar o que obstaculiza a experiência. Definitivamente, o ensaio se afasta do modo de proceder dos produtos da indústria cultural, por não compactuar com uma forma aligeirada e instrumentalizada de comunicação textual. Ele resiste explicitamente a se fazer como linguagem totalizante. Desse modo, o ensaio é protesto ao domínio da razão e da ciência instrumentalizadas.

Работа посвящена проблеме репрезентации в изобразительном искусстве. Феномен репрезентации, традиционно связанный с классической парадигмой, рассматривается в качестве более широкой категории, применимой к изобразительному искусству также на протяжении неклассического этапа его развития. Предметом исследования выступают способы функционирования механизма репрезентации в изобразительном искусстве классической, модернистской и постмодернистской парадигм. Работа построена на анализе философско-эстетических представлений, касающихся сферы изобразительного искусства, а также эстетических и историко-культурных исследований, которые касаются вопросов, раскрывающих проблему репрезентации в изобразительном искусстве различных эпох. / The master's thesis is devoted to the problem of representation in fine art. The phenomenon of representation is traditionally connected with classical paradigm but in this research it is considered as superior category applicable to non-classical period of fine art’s development. The object of research is concerned with ways of functioning of the representation mechanism in fine art of classical, modernist and post-modernist paradigms. The research work is constructed on the analysis of the philosophical and esthetic ideas concerning the sphere of fine art, and also historical and cultural researches concerning the problem of representation in fine art of various cultural periods.

No description available.

Useless things. I normally use trash things like pattern in painting still life. My father suffers from obsessive compulsive disorder – accumulation of things. In addition to painting, I also work with objects themselves. My interest also closely related to how the concepts of the subject, object and artifact are appliing in contemporary art. There are the tradition of imitation fact, principle of ready-made, the issue of technical reproducibility and virtual reality of things in history of art. As a central theme of my thesis, I selected the part of bodywork Tatra 613, which carries all the testimony about ,,useless and hopeless "situation in which it is located. It is also an object monumental and visually very aesthetic. Yet it is not my intention to settle for the principle of redy-made. Asked about artwork as intermediaries art and its seemingly useless producing and reproducing, I want to try to create another such usless situation. That's why I make a cardboard copy (1: 1) of this object. I also make video with motive 3D copy of the same object. I like to create some voltage between that useless object and valuable art practice. I think, it does not just mean such futility when these objects will be viewed as an art.