Le présent travail a pour objectif de montrer que les réflexions théoriques et les remarques à caractère technique suscitées au cours de l’histoire par le sublime permettent d’approfondir la question du sens de l’art abstrait. En retour, il vise à tracer les voies par lesquelles l’art abstrait porte à témoigner du sublime, à le penser et à le reconnaître. La relation que l’art abstrait entretient avec la tradition du sublime n’est pas univoque, car certaines parmi ses manifestations tendent à confluer dans la tradition du beau et à renouer avec la pratique de la mímēsis (dont la notion classique déborde les notions modernes d’imitation, de représentation et de figuration). Force est de constater que l’impression d’étrangeté provoquée par le sublime se distingue du plaisir de la reconnaissance qui accompagne le beau et qui est l’effet de la mímēsis accomplie. Ainsi il s’agira de départager l’abstraction, laquelle aurait pour objet l’harmonie sous sa forme abstraite, et l’art abstrait, lequel procurerait un émoi propice au sublime. Cet émoi ne constituera pas le seul critère discriminant en matière de choix des démarches à comparer. D’autres aspects seront pris en considération, à savoir la simplicité, la grandeur et l’obscurité, qui, sous certaines conditions et une fois réunies, peuvent prêter existence au sublime. L’intérêt de l’approche proposée consiste à considérer différentes pratiques abstraites sous un angle, celui du sublime, qui offre la possibilité de les relier à des pratiques figuratives, poétiques, oratoires ou architectoniques dans une perspective historique, mais aussi d’en reconnaître les enjeux et les difficultés spécifiques. / The objective of this thesis is, on the one hand, to show how the theoretical reflections and technical considerations raised throughout history by the sublime allow a deeper understanding of the meaning of abstract art. On the other hand, this thesis explores the way in which abstract art gives rise to the experience of the sublime and therefore to a reflection on it and to its recognition. The relation between abstract art and the tradition of the sublime is not unproblematic. Some of the manifestations of abstract art have a tendency to relate to the tradition of beauty and the practice of mímēsis (whose classical meaning goes beyond the modern notion of imitation, representation and figuration). It is important to note that the impression of strangeness provoked by the sublime differs from the pleasure gained from the recognition that accompanies beauty and is the effect of the accomplished mímēsis. Therefore, it is a question of distinguishing between abstraction, whose objective is harmony in its abstract form, and abstract art, which provokes an agitation that can generate the sublime. In addition to agitation, other aspects will be taken into consideration, namely simplicity, grandness and obscurity. These aspects can, under certain conditions and once they are brought together, give rise to the sublime. The approach of this thesis is important because it considers abstract practices from the angle of the sublime which offers the possibility (a) to link abstract practices with figurative, poetic, oratory or architectural practices in a historical perspective, and (b) to identify specific issues and problems of abstract practices.

The present thesis works in line of research, Knowledge and Professional Development Training (LP1), at the Graduate Program in Education, Education Center (EC), the Federal University of Santa Maria (UFSM). The research in question from basilar unfold a problem consisting in discussing the position of cultural education in courses of pedagogy. In more detailed terms, then we are interested in, primarily, known as the cultural background can be embodied as "Other of the pedagogy", in the educational process, especially in the formative processes of teaching. In this sense, this work of theoretical dissertation bibliographic and documental analysis-, lies in the perspective of philosophy of education, resulting in overall objective "investigate the possibilities of cultural training constitute itself as the other of pedagogy in times of breaks with tradition". In an attempt to achieve the proposed objectives, we seek from the reference frame of the tradition of critical theory and hermeneutics, address the problem of teacher training associated with the idea of cultural background, as well as, develop through the philosophical perspective a critical reading of the main general guidelines arising from the Pedagogy course curriculum guidelines in search to see if there are ways to approach the cultural traditions a means of overcoming "semi culture", the teacher education, teacher training institutions. The theoretical framework of this endeavor was in the investigative contributions of Theodor w. Adorno and Hans-Georg Gadamer. To this end, in the unfolding of research, following the escalations of critical-hermeneutical methodology in reconstructive documentary analysis worth a part of the National curriculum guidelines for training teachers of basic education, upper level, Degree, graduation course Full national curriculum guidelines and for undergraduate course in pedagogy, Bachelor, of the Ministry of education MEC/Brazil, considering the theory practice relationship categories; and mirroring of the strangeness in cultural education. It is worth mentioning that we undertook, deliberately, a philosophical study of the sense of the implications of education skills, present in such documents, and not a specific study of historical-political nature. This way, the findings of the survey point to the idea that the legal apparatus that sustains the teacher training courses, especially the Pedagogy course does not prevent the cultural formation is present in the formation of teachers. That is, the legal supply makes room for that cultural training is not only how, but also mirroring how strangeness in teacher education. Therefore, by experience, hermeneutics as way of formative experience, the structural model of teaching Constitution allows us to affirm the "cultural formation (Bildung) as the other pedagogy", as well as estrangement, that is, as critical, creative potential as the different that allows us to respect the otherness, dialogue, build an emancipatory element with a view to overcoming the "semi culture" in teacher training. / O presente trabalho de tese insere-se na Linha de pesquisa Formação, saberes e desenvolvimento profissional (LP1), do Programa de Pós-graduação em Educação, do Centro de Educação (CE), da Universidade Federal de Santa Maria (UFSM). A pesquisa em questão se desdobra de uma problemática basilar que consiste em debater a posição da formação cultural nos cursos de Pedagogia. Em termos mais detalhados, então, interessa-nos, fundamentalmente, saber como a formação cultural pode ser corporificada como o Outro da Pedagogia , no processo educativo, especialmente nos processos formativos da docência. Nesse sentido, este trabalho de tese de cunho teórico-bibliográfico e de análise documental, se situa na perspectiva da Filosofia da Educação, tendo por objetivo geral investigar as possibilidades de a formação cultural se constituir como o Outro da Pedagogia em tempos de rupturas com a tradição . Na tentativa de atingir os objetivos propostos, buscamos a partir do referencial da tradição da teoria crítica e da hermenêutica, abordar o problema da formação docente associada à ideia de formação cultural, bem como, elaborar através da perspectiva filosófica uma leitura crítica das principais orientações gerais emanadas das Diretrizes Curriculares do Curso de Pedagogia em busca de avistar se há formas de aproximar a tradição cultural, como modo de superação da semicultura , da formação docente, nas instituições formativas do professor. O referencial teórico desta empreitada investigativa se constituiu nas contribuições de Theodor W. Adorno e Hans-Georg Gadamer. Para tanto, no desdobramento da pesquisa, seguindo os encaminhamentos metodológicos da hermenêutica crítico-reconstrutiva, nos valeremos da análise documental das Diretrizes Curriculares Nacionais para Formação de Professores de Educação Básica, em nível superior, Curso de Licenciatura, de Graduação Plena e das Diretrizes Curriculares Nacionais para Curso de Graduação em Pedagogia, Licenciatura, do Ministério da Educação MEC/Brasil, tendo em vista as categorias da relação teoria prática; do espelhamento e do estranhamento na formação cultural. Cabe destacar que empreendemos, deliberadamente, um estudo filosófico do sentido das implicações da educação por competências, presentes em tais documentos, e não um estudo específico de natureza histórico-político. Nessa direção, os achados da pesquisa apontam para a ideia de que o aparato legal que sustenta os cursos de formação docente, especialmente o Curso de Pedagogia não impede que a formação cultural esteja presente na formação de professores. Ou seja, o aporte legal abre espaço para que a formação cultural se apresente não só como espelhamento, mas também, como estranhamento na formação docente. Portanto, pela experiência hermenêutica, como caminho da experiência formativa, o modelo estrutural da constituição docente nos permite afirmar a formação cultural (Bildung) como o outro da Pedagogia , também como como estranhamento, isto é, como potencial crítico criativo, como o diferente que nos permite respeitar a alteridade, estabelecer o diálogo, construir elemento emancipatório com vistas à superação da semicultura na formação docente.

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No. of bitstreams: 2 Tese - Natássia Duarte Garcia Leite de Oliveira - 2013.pdf: 3602344 bytes, checksum: 762e67dc5f778124ce2908f23fee12af (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-10-02 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This work is a result of a research developed from 2009 to 2013, compounding the set of productions at the study line Culture and Educational Processes of the Post-Graduation Program in Education at Faculty of Education/UFG, being bound to the Nucleus of Research and Studies: Society, Subjectivity and Education (NUPESE). The title of the thesis, Dialectical Theater in strange lands: the (in)differentiation between subject and object in cultural formation, searched theoretically the relationship between the Bertolt Brecht’s dialectical theatre and the critical theory of School Frankfurt, represented in the Theodor Adorno and Walter Benjamin’s works. The central problem of the research is: why and how brechtiano epic theatre is relevant for the conception of epic form overwhelmed by cultural industry? As a main objective, it sought critical theory contributions about (in)differentiation between subject and object for a reflection about epic theatre constitution. For this, concepts of strangeness and detachments were analyzed, dialoguing with: meaning of identification in freudiana theory; categories of strangeness, strangeness in himself and strange work in the marxist conception; and the bejaminiano concept of experience. In this sense, the work is a reflection of the dialogue of many voices, and its theoretical referential is Constantin Stanislavski, Berlot Brecht, Karl Marx, Sigmund Freud, Walter Benjamin, Theodor Adorno. We still based on readings of Viktor Choklovski, Eric Hobsbawn and Iná Costa’s works, like other ones, and the negative dialectical body and conceptual analysis of Adorno. At the end of the research, it was concluded that it is primordial the differentiation in the relationship between subject and object for the cultural formation of the subjects, in the actor, director, dramaturge or spectator positions. This question pervades through the mediation process, in which the subject constitutes himself, as well as the form and content of the object. Thus, it is necessary to intend the affective approach of the subject to what it is aesthetically produced, and the critical distance of the artistic experience, in ambivalent and contradictory relationship between particular and universal, subjectivity and objectivity, individual and society. Such dialectical movement may enable the subject to recognize himself in the critical creation with/of the object. So there is this experience for and by the formation, it is fundamental the affective link with the art work and subjects involved on the artistic work; and, still, the necessary strangeness and distance to the critical reflection in the possibility of overcoming barbarism in the sense of the subject autonomy. / O presente trabalho resulta de uma pesquisa desenvolvida no período de 2009 a 2013, compondo o conjunto de produções da linha Cultura e Processos Educacionais do Programa de Pós Graduação em Educação da Faculdade de Educação/UFG, estando vinculado ao Núcleo de Pesquisa e Estudos Sociedade, Subjetividade e Educação (NUPESE). A tese intitulada Teatro dialético em terras estranhas: a (in)diferenciação entre sujeito e objeto na formação cultural investigou teoricamente a relação entre o teatro dialético de Bertolt Brecht e a teoria crítica da Escola de Frankfurt, representada nas obras de Theodor Adorno e Walter Benjamin. Definiu-se como problema central da pesquisa: por que e como o teatro épico brechtiano é relevante para a concepção da forma épica, subjugada pela indústria cultural? Como principal objetivo, buscou-se as contribuições da teoria crítica acerca da (in)diferenciação entre sujeito e objeto, para uma reflexão sobre a constituição do teatro épico. Para tanto, analisou-se os conceitos de estranhamento e de distanciamento em Brecht, dialogando com: a acepção de identificação na teoria freudiana; as categorias de estranhamento, estranhamento-em-si e trabalho estranhado na concepção marxista; e o conceito bejaminiano de experiência. Nesse sentido, o trabalho é reflexo de diálogo de muitas vozes, tendo como referencial teórico Constantin Stanislavski, Bertolt Brecht, Karl Marx, Sigmund Freud, Walter Benjamin, Theodor Adorno; apoiando-nos, ainda, em leituras como Viktor Choklovski, Eric Hobsbawm, Iná Costa, entre outros. A análise conceitual e do corpo teórico cotejado na pesquisa foi realizada com base no materialismo histórico e na dialética negativa, de Adorno. Ao final da pesquisa, concluiu-se que é fundamental a diferenciação na relação entre sujeito e objeto para a formação cultural dos sujeitos, quer estejam na posição de ator, diretor, dramaturgo ou espectador. Essa questão perpassa pelo processo de mediação, pela qual o sujeito se constitui, assim como constitui a forma e o conteúdo do objeto. Destarte, faz-se necessário tencionar a aproximação afetiva do sujeito ao que é produzido esteticamente, e o distanciamento crítico da experiência artística; numa relação ambivalente e contraditória entre particular e universal, subjetividade e objetividade, indivíduo e sociedade. Tal movimento dialético pode possibilitar ao sujeito que ele se reconheça na criação crítica com/do objeto. Para que haja essa experiência para e pela formação, é fundamental o vínculo afetivo com a obra de arte e com os sujeitos envolvidos no trabalho artístico; e ainda, o estranhamento e o distanciamento necessários à reflexão crítica na possiblidade de superação da barbárie no sentido da autonomia do sujeito.

Dès notre prise de fonction dans un service hospitalier qui a accueilli des patients infectés par le V.l.H., nous nous sommes demandées si l'intervention psychologique était possible dans ce lieu hautement spécialisé ? Avec l'éloignement du caractère mortel de la maladie,le V.l.H. prend davantage le sens d'une maladie chronique. Les limites reculent mais à quel prix ? La dernière partie de cette recherche propose une réflexion psychopathologique et psychanalytique sur les problèmes posés par la "poussée" à la mort et que nous avons vu se déchaîner dans cette maladie à travers certaines contaminations volontaires. / When we first started practicing in a hospital unitth at treated V.l.H. positive patients, we asked ourselve:in the fîrst part of this research, if psychological intervention was possible in such a highly specialized unit. With the receding of te deadly nature of Aids, it appears more a chronic illness. The limîts are pushed back, but at what price ? Finally, the part of this research proposes a psychopathological reflection on the problems posed by the"death drive" présent at the very heart of the drive, and that we've seen un leashed by this pathologyby the act of intentional contaminations.

Le mot grotesque est mal défini ; il recouvre, comme nom et adjectif, des réalités très disparates. Aussi, comment peut-il être utilisé pour désigner un système cohérent de représentation  ? Quel est le point commun à toutes les formes du grotesque ?Dans un premier temps, il s’agit de présenter un panorama des références nécessaires à une description synthétique des motifs du grotesque. Deux analyses se sont particulièrement révélées stimulantes dans le processus : celles de Wolfgang Kayser et Mikhaïl Bakhtine. Analyses qui ne datent que d’environ un demi-siècle et reposent sur un corpus littéraire (respectivement Kafka et Rabelais). Puis il sera question des tenants et aboutissants du grotesque en fonction des contraintes et possibilités des différents mediums de l’art contemporain. Ainsi, dans quelle mesure les outils critiques de la littérature peuvent-ils être féconds pour la compréhension de ces formes plastiques ?Dans un second temps, il apparaît que le corps humain et ses acceptions sociale, culturelle, psychologique, ait pris une place prépondérante dans la production plastique du XXe siècle en ce sens que le support se fait documentaire. En quoi cette politique du corps s’est-elle structurée à un moment ou un autre sur le motif du grotesque ?Ensuite, il s’agit de produire une typologie des manifestations du grotesque et des réactions qu’elles suscitent. Dans quelle mesure ces émotions ont-elles leur part dans une compréhension de l’individu en tant que tel et de son mode de vie, des rapports de pouvoir et des aspirations qui les traversent ?Enfin, le grotesque semble se perdre dans les tentatives de définition, notamment en fournissant des modèles esthétiques hétéroclites. Comment serait-il possible toutefois de solidifier ses expressions en des formes théorisées distinctes ? Ainsi une théorie des formes du grotesque, aussi disparates qu’elles puissent être, et en évolution permanente, pourrait bien être un outil incontournable pour une appréhension sensible de l’art contemporain et ainsi peut-être s’en approprier les motifs. / The word grotesque has never been accurately defined. As a noun and an adjective, it covers disparate concepts. Therefore how could it be used to designate a coherent representational system? What is the common point between all the forms of the grotesque?Firstly we’ll present a comprehensive overview of the references necessary to the description of grotesque patterns. In this process, two analysis have been particularly stimulating : those of w k and m b. These analysis are less than fifty years and are respectively based on Kafka and Rabelais’ body of literature.We’ll then talk about the ins and outs of the grotesque depending on both the possibilities and the constraints of contemporary artistic mediums. We’ll also explain how literary critical tools can help understand the art forms of the grotesque. Secondly we’ll see how the human body - as well as its social, cultural and psychological acceptions - have become predominant in the artistic production of the 20th century. How have these acceptions sooner or later edified a conceptual body around the notion of grotesque ?Thirdly we’ll try and produce a typology of the manifestations of the grotesque as well as a typology of the reactions it has generated. To what extent have these emotions played a part in the understanding of the human being and its lifestyle? Finally we’ll see how the grotesque tends to loose its meaning when we attempt to define it. It is especially the case when those attempts try to provide aesthetic benchmarks. However, could it be possible to consolidate those analysis and turn them into several distinctive theories?The forms of the grotesque are diverse, disparate and in constant evolution. However a theory of these forms is a tool not only indispensable to the comprehension of contemporary art but also necessary to the understanding of its patterns.

La création artistique est souvent associée injustement à la folie, à ce trou noir où la souffrance règne. Ce travail de recherche se construit à partir de l’expression « la folie, l’absence d’œuvre » de Michel Foucault et se penche sur la notion de folie en tant qu’entrave à la création. Loin de tout éloge immérité qu’on a attribué à cette notion vaste et équivoque tout au long de l’histoire, d’Erasme au surréalisme, cette thèse entreprend de réfléchir sur la fonctionnalité du travail créatif en cas de démence. Un regard historique sur la représentation de la folie dans l’art occidental éclaircira la prise de position de l’artiste à l’égard de l’aliénation mentale ou collective. Ainsi, à travers une étude approfondie de différents parcours artistiques ébranlés par des troubles mentaux, cette thèse s’engage à esquisser le trajet de l’artiste depuis le trouble psychotique jusqu’à sa tentative de guérison par la création. Considérant des liens entre l’état psychique et le dessin au sein de mon propre travail plastique, je m’interroge également sur la responsabilité sociale d’une œuvre troublante dans le monde contemporain. / Artistic creation is often associated unjustly with madness, this black whole where suffering reigns. This research is based on the expression of “The madness, the absence of artwork" by Michel Foucault and studies the notion of madness as an obstacle to creation. Far from any undeserved compliments which have been attributed to this vastand equivocal notion throughout the history, from Erasmus to Surrealism, this thesis is undertaken to reflect on the features and functions of creative artwork in case of insanity. A historical look at the representation of madness in Western art will shed light on the artist's position regarding his mental or collective alienation. Thus, through an in-depth study of different artistic paths influenced by mental disorders, this thesis sketches the artist’s path from the psychotic disorder to his attempt at recovery through creation. Considering the links between psychic state and drawing in my own artwork, I raise question of the social responsibility of a troubling work in the contemporary world.

Orientador: Jun Takahashi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Fisica Gleb Wataghin / Made available in DSpace on 2018-08-11T10:25:44Z (GMT). No. of bitstreams: 1 Souza_RafaelDerradide_M.pdf: 5190148 bytes, checksum: 9951aed4d9ff0a2b1db393891c1ac465 (MD5) Previous issue date: 2008 / Resumo: Reações nucleares envolvendo núcleos pesados em energia de colisão no limite relativístico são estudadas para conhecer as leis e características da matéria em condições extremas de energia e temperatura. Em uma colisão de núcleos pesados no regime relativístico, milhares de partículas são produzidas. Neste trabalho, estudamos a produção de partículas analisando os dados de colisões de íons pesados relativísticos, medidos pelo experimento STAR do acelerador RHIC, com uma abordagem estatístico-termodinâmica. Usando o formalismo grande-canônico, foram feitos estudos da dependência dos parâmetros termodinâmicos com o volume dos sistemas formados em colisões de íons de ouro ( 197 Au) nas energias de 62,4 e 200 GeV por par de núcleon e colisões de íons de cobre ( 63 Cu) na energia de 200 GeV por par de núcleon. Observou-se que o grau de equilíbrio do setor de estranheza é equivalente entre os sistemas criados em colisões centrais de íons de cobre e os criados em colisões periféricas de íons de ouro na energia de 200 GeV por par de núcleon. Também foi analisada a dependência dos parâmetros termodinâmicos com relação à rapidez das partículas produzidas na reação e os resultados mostraram um forte aumento dos potenciais químicos bariônico e de estranheza para as regiões longitudinais das distribuições de rapidez. Finalmente, foi verificada a dependência dos resultados obtidos em função da energia depositada na reação (ps N N), observando-se uma boa consistência com o comportamento geral de resultados de outros trabalhos encontrados na literatura / Abstract: Nuclear reactions in the relativistic regime are studied to understand the laws and characteristics of nature under extreme conditions of high energy density and temperature. In these collisions, a large number of particles is produced. In this work, we study the particle production mechanism using a statistical thermal approach analysing data measured by the STAR experiment at RHIC. Using a grand-canonical approach a study of the volume dependence of the thermodynamical parameters of the systems formed in gold-gold (197 Au ) collisions at 62.4 and 200 GeV per nucleon pair and copper-copper (63 Cu ) collisions at 200 GeV per nucleon pair was performed. This study showed that the equilibrium is indeed achieved and that, even in the strangeness sector, equilibrium is achieved in the case of most central gold-gold collisions. The dependence of the thermodyna-mical parameters on the particle rapidity was also analysed and the results showed an increase of the baryon and strange chemical potentials with rapidity. Finally, the dependence of the results on the energy deposited in the reaction was verified within a fairly good agreement with the general behaviour of results obtained in similar studies from literature / Mestrado / Física / Mestre em Física

Orientador: Jun Takahashi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Física Gleb Wataghin / Made available in DSpace on 2018-08-19T21:22:39Z (GMT). No. of bitstreams: 1 Chinellato_DavidDobrigkeit_D.pdf: 12088648 bytes, checksum: c79560f4593e813870fc0e788aadf075 (MD5) Previous issue date: 2012 / Resumo: Neste trabalho, estudamos a produção de hádrons estranhos em colisões próton-próton (pp) a energias de (s)^(1/2)= 7 TeV medidas pelo experimento ALICE no acelerador LHC. São resentadas medidas inéditas das taxas de produção em rapidez central do méson (K) também dos bárions ?,? e O- e suas antipartículas correspondentes. As taxas totais de produção excedem significativamente as previsões de modelos que utilizam a Cromodinâmica Quântica Perturbativa (pQCD). Em particular, comparamos as medidas com previsões do simulador de eventos PYTHIA, onde é observado que as previsões concordam com as medidas apenas para momentos transversais (Pt) acima de 6- 7 GcV / c. Este resultado indica que os processos de primeira ordem não-nula implementados no PYTHIA estão bem ajustados, mas a implementação de um cálculo que descreva os dados em baixo Pt ainda é um problema em aberto. Os resultados aqui apresentados devem contribuir para melhorar o entendimento dos mecanismos de produção de partículas na região de baixo Pt¿ Colisões pp são também utilizadas como referência para colisões nucleares de diferentes multiplicidades no estudo da formação do Quark-Gluon Plasma (QGP). Em particular, o aumento da produção de estranheza é considerado um importante observável do QGP. Neste contexto, estudamos a dependência da produção de partículas estranhas com a multiplicidade de partículas carregadas e comprovamos que não há indício de aumento da produção relativa de estranheza cm eventos pp. Isto é um importante resultado, pois complementa os estudos que consideram a possibilidade de formação de QGP em colisões pp / Abstract: In this work, we study the production of strange hadrons in proton-proton (pp) collisions at energies of (s)^(1/2)= 7 TeV measured by the ALICE experiment at the LHC. We present the first measurements of particle yields at central rapidities for the (K)meson as well as for the ?, ? e O- baryon and their antiparticles. Total particle production rates exceed predictions by models that use Perturbative Quantum Chromodynamics (pQCD). In particular, we compare our measurements to predictions by the PYTHIA event generator and find that predictions agree with data only at transverse momenta (Pt) higher than 6- 7 GeV / c. This result indicates that the leading order processes implemented in PYTHIA are well adjusted, but the implementation of a calculation that describes the data at low Pt is still an open issue. The results presented here should contribute to improve our understanding of particle production mechanisms at low Pt ¿ Proton-proton collisions are also used as a reference for nuclear collisions of different multiplicities in the study of Quark-Gluon Plasma (QGP) formation. The increase of strangeness production is considered an important observable of the QGP. In this context, we study the dependence of strange particle production with charged particle multiplicity and find that there is no indication of an increase strangeness production rate in pp collisions. This is an important result that contributes to the studies that consider the possibility of QGP formation in pp collisions / Doutorado / Física / Doutor em Ciências

Lire une fiction gracquienne s’apparente à l’expérience du ravissement amoureux. Etre lecteur de Gracq, c’est accepter d’être ravi, capturé et enchanté tout à la fois. La dépossession herméneutique à laquelle le texte gracquien nous convie relève de l’expérience érotique. Présent comme thème, mais secondaire, mince, intermittent, l’érotisme semble exister dans le profil perdu du texte. Son cadre posé et aussitôt évidé de sa substance fait disparaître la scène sexuelle sous les yeux du lecteur-voyeur, dont l’attente est déjouée. La fiction organise l’escamotage du sexe, relançant sans cesse le désir à l’échelle du récit et de la lecture. L’imaginaire érotique, stéréotypé et obsessionnel, consacre sa présence-absence à la croisée de trois impossibles : le sexe, la femme, la mort. L’érotisme gracquien est donc bien un vide autour duquel tourne le lecteur et que cerne l’écriture. Aporétique, la voie de l’érotisme ? Ce n’est pas qu’elle ne mène à rien chez Gracq, c’est que le lecteur est invité à progresser dans cette aporie, à y digresser. L’érotisme est toujours déplacé, enfoui dans le palimpseste du paysage. Du dé-cor(ps) au corps à corps avec les mots, c’est l’usage de la langue qui est érotisé chez Gracq : il ne représente pas le sexe ; il le figure dans le texte, jusqu’à la jouissance et sous les yeux du lecteur, cet Autre. Dans l’œuvre de Julien Gracq, l’enjeu libidinal de la littérarité est de taille : l’érotique gracquienne transfigure la chair en chaire : du sexe au texte, l’auteur adopte une posture de séduction ; le texte fait écran entre lui et l’Autre qu’est le lecteur. Le sexe est devenu texte, limen, frontière, entre-deux irréductible, il est devenu l’hymen, espace de touche entre soi et l’autre ; la rencontre, pourtant représentée comme impossible, peut alors s’opérer. / Reading a fiction by Gracq feels similar to lovers’ delight. To become a Gracq reader, you must accept to be delighted, captured and enchanted all at once. The hermeneutic dispossession experienced through Gracq’s fiction is clearly erotic. No matter how secondary, thin and sporadic, the theme of eroticism may be, it seems to be running throughout the lost profile of the text. All set up and cleared of its substance, the sexual scene disappears from the eyes of the reader-voyeur whose expectation is frustrated. Fiction manages to cover up sex by setting desire within the plot and the reading. The presence-absence of erotic fantasy, as stereotyped and obsessive as it may be, is best consecrated at the crossroads of three impossible matters: sex, women and death. Eroticism by Gracq turns out to be a void around which the reader is waltzing and that the writing manages to grasp. Is the path of eroticism aporetic? It is not that this path is a dead end but rather that the reader is invited to advance and digress in this aporia. Eroticism is always moved, buried within the palimpsest of the landscape. With his successive unmoulding and moulding of words, it becomes clear that language is eroticised with Gracq. He doesn’t picture sex, he features it in his text until it pleases him –all this in the other, that is to say the reader’s eyes. In Julien Gracq’s work, the libidinal issue of literarity is at stake: Gracq’s eroticism transfigures flesh into a pulpit. From sex to text, the author takes on a posture of seduction. The text forms a screen between him and the Other, that is to say the reader. Sex has become text, limen, a border, an essential in-between. It has become the hymen, a touching space between one and the other. The meeting, though often portrayed as impossible, can then happen.

Der Beitrag von Theresia Swars, Eine Fremde in Israel – ein Israelit in der Fremde. Fremdsein im Vergleich am Beispiel der biblischen Gestalten Rut und Josef, eröffnet die zweite, texthermeneutische und sprachwissenschaftliche Aufsatzgruppe des Bandes, um letztmalig, jetzt aus der fachwissenschaftlichen Perspektive der Biblischen Theologie, Fragen des ‚Gender‘ mit dem Problemkreis ‚Migration‘ zu überschneiden. Konsent mit der aktuellen Forschungsmeinung, dass der Komplex aus Flucht, Vertreibung, Schutz von Fremden und Gastfreundschaft ein universelles, identitätskonstitutives Merkmal aller antiken Religionen sei, liest auch Swars die Bibel als ‚Flüchtlingsbuch‘, wo sich gerade im Alten Testament – und notwendig aus jüdischisraelitischer Sicht – zahlreiche Bilder des Fremden sowie Fremdheits- und Integrationserfahrungen narrativiert finden. Der Erkenntniszugewinn verdankt sich der geschlechtswissenschaftlichen Dimensionierung der Fragestellung. Indem die Verfasserin die Erzählungen von Rut und Josef genderanalytisch vergleicht, kann sie nicht nur zentrale (genderneutrale) Gemeinsamkeiten dieser ‚zwei Lebenswege über Ländergrenzen hinweg‘ herausarbeiten, so etwa die (untypische) Absenz fremdenfeindlicher (anti-ägyptischer und anti-moabitischer) Stereotype oder die hohe Bedeutung, die religiösen und familialen Momenten bei der Integration Ruts und Re-Integration Josefs in den jüdisch-israelischen Sozial- und Kulturraum zukommen. Der Beitrag zeigt vielmehr, dass und wie der auffälligste Unterschied der beiden Migrations- und Integrationsbiographien – Ruts: linear, Josefs: non-linear – mit Genderdifferenzierungen zusammenhängt.