Made available in DSpace on 2016-04-28T20:38:57Z (GMT). No. of bitstreams: 1 Francisco Ferreira de Camargo Fernandes.pdf: 3610535 bytes, checksum: 2061b43bf786c1af58bc93362f366ab4 (MD5) Previous issue date: 2014-11-07 / The present study aims to investigate the relationship between psychoanalysis and Surrealism, and to establish the conditions for a painting to become the ultimate object of fascination. I.e., how a work of art can rise to the dignity of the Thing. The work also aims to establish what is meant by painting from three different positions: one cezannean, one dalinian and one lacanian, and how this concept can be expanded. Finally, we also investigate in detail the features that support this place of the object of worship, such as identification, fantasy and the object a. Lacan considered art to play an essential role in showing what cannot be seen. This research seeks to relate these two fields, art and psychoanalysis, and see what, in this relation, has tangentially the condition of the Thing / O presente trabalho investiga a relação entre Psicanálise e Surrealismo e estabelecer as condições para que um quadro possa se tornar objeto último de fascínio. Ou seja, como uma obra de arte pode se elevar à dignidade da Coisa. O trabalho também estabelece o que se entende por quadro a partir de três posicionamentos distintos: um cezanneano, um daliniano e um lacaniano, e como esse conceito pode ser expandido. Por fim, o trabalho também investiga com maiores detalhes as características que suportam esse lugar de objeto de adoração, como a identificação, a fantasia e o objeto a. Lacan destina à arte o papel essencial de mostrar aquilo que não pode ser visto, e a pesquisa em questão visa relacionar esses dois campos, arte e psicanálise, e ver o que, dessa relação, apresenta, no tangente, a condição de Coisa

Durante o ano de 1781 Kant lança a obra Crítica da razão pura, a qual é exclusivamente voltada para o problema do conhecimento humano, mais precisamente, sua origem, seu limite, sua organização e sua validade perante a realidade empírica. Contudo, foi a questão quanto a origem do conhecimento que se tornou o foco das atenções e discussões durante todo o período do idealismo alemão, visto que tal questão trazia a luz o conceito de coisa em si. O problema deste conceito era saber qual deveria ser seu lugar em relação ao conhecimento, isto é, se a coisa em si era ou não a causa do conhecimento empírico e quais as consequências e soluções diante a escolha de alguma destas posições. Desse modo, durante o idealismo alemão surgiram vários sistemas que ora tentavam resolver ora atacar, com argumentos céticos, o problema da coisa em si kantiana. Dentre estes sistemas, como defensor da doutrina transcendental, destaca-se o de Arthur Schopenhauer, que tanto dá uma denominação metafísica-imanente para a coisa em si, Vontade, quanto soluciona o problema da origem do conhecimento empírico sem o uso de tal conceito problemático. Sendo assim, nossa dissertação tem como objetivo discutir a solução e o significado do conceito de coisa em si encontrado por Schopenhauer em seu livro O mundo como vontade e como representação. / During all the year of 1781, Kant releases his Critique of Pure Reason, which is exclusively devoted to the problem of human knowledge, more precisely his origins, his limits, his organization and his validity face off the empirical reality. Although, the question around the knowledge origins has become the focus of lectures and discussions during all the period of German idealism because it brings out the thing-in-itself concept. That concepts problem is to know which should be his role concerning knowledge, or if thin-in-itself was the cause of empirical knowledge or not, and which consequences and solutions were implicated in this positions. With that, during the period of German idealism several philosophical systems began to exist, attempting to solve or to attack, using skeptical argumentations, Kantians thing-in-itself problem. Among these systems, as a defender of transcendental philosophy doctrine, Arthur Schopenhauers system gains force, as an author of the denomination metaphysical-immanent to the thing-in-itself (the Will), and both as the proposer of a solution to the problem of the empirical knowledge without the using of this problematical concept. Therefore, our master thesis has, as her goal, to discuss solution and signification of thing-in-itself inner concept, founded by Schopenhauer in The World as Will and Representation.

This thesis studies contemporary China's heritage boom phenomenon as experienced through the everyday lives of antiquarian communities (collectors, antique dealers etc.) and heritage professionals in and around Beijing. Aiming to extend our vision beyond heritage sites and museums, which constitute the traditional subject of anthropological studies of heritage, the thesis explores the ways in which 'heritage' and 'treasure' are lived by wider Chinese urban residents, constituting a total social fact. Challenging the popular assumption made by heritage scholars in which heritage phenomenon is considered a by-product of modernity's tendency to contrast the current progress with the past as a benchmark, this thesis argues that contemporary China's heritage fever is, however, a social symptom of utopian replacement, in which the idea of linear progress promised by modernisation has been challenged by a recent nationwide utopian project of returning to 'the prosperous age' ('shengshi') with its emphasis on cyclical 'rise and fall'. Treasures of China, as 'Fragments of the Prosperous Age', have thus emerged as powerful imaginaries and resources to open up a utopian vision of ideal society based on fantastic imaginations of China's past glories. Foregrounding the relations between heritage and utopianism, the thesis subsequently investigates the complex ways in which heritage activists from state systems and antiquarian communities contribute to the utopian project from different pathways, bifurcating China's heritage phenomenon into formal and informal parts. Chapters one and two demonstrate that state-led imaginings have changed from the evolutionary perspective to one pursuing the glory of the past under the new spell of 'civilisational revival'. Officials and activists associated with formal heritage deploy a variety of discursive and bureaucratic technologies to securitise, manage and utilise China's ancient treasures, so as to legitimise the current regime. On the other hand, Chapters three and four show that collectors associated with informal heritage encounter fragments of the past in a bodily and joyful way. In ordinary antiquarian practices which juxtapose the cultivation of moral self with the patination of antique objects, collectors pursue an archaic yet neoliberal custodianship which has altered the ethics and sense of moral responsibility in the domains of market exchange. These two factions in China's heritage world may differ from each other in many aspects, but Chapter five suggests both of them, in fact, conspire to reproduce ancient 'prosperous age' ('shengshi') in the present and for the future. The thesis concludes with a discussion about the extent to which Hegel's future-oriented conception of 'capitalised History' that structures the writing of national history has transformed into a 'capitalised Heritage' in contemporary China. 'Capitalised Heritage' works to recast the importance of the Chinese nation in the contemporary world, reaching an ultimate reconciliation with the spectre and material legacies of the past.

This dissertation follows a collection of agentive objects around and through the networks of humans and nonhumans in four disparate works of English literature: the Anglo-Saxon poem The Dream of the Rood, William Shakespeare's narrative poem The Rape of Lucrece, Thomas Hardy's novel The Woodlanders, and Philip Pullman's trilogy His Dark Materials. Applying the emergent discourses of object-oriented analyses, I posit the need for a critique that considers literary objects not as textual versions of real-world objects but as constructs of human imagination. What happens when we treat nonhuman or inanimate objects in literature as full characters in their own right? What work do nonhumans do to generate the story and the characters? How does our understanding of the human characters depend on the nonhuman ones? Most importantly, what motivates the agency of the fictive nonhuman? I argue that in this particular collection of texts, nonhuman agency stems from authorial nostalgia for the Garden of Eden: a time long past in which humans, nonhumans, and God existed in perfect harmony. Each text preserves this collective memory in a unique way, processing the myth as the author's cultural moment allows. The Dream of the Rood chapter uncovers the complex network of mirrors between the poet, the fictive Dreamer, the True Cross who speaks to the Dreamer, and the reader(s) of the poem. I use Jacques Lacan's stages of psychosexual development to trace the contours of this network, and I demonstrate how the poet's Edenic vision takes the form of an early medieval feast hall in heaven in which God presides over a banquet table like Hrothgar over Heorot. The Rape of Lucrece chapter posits that a series of domestic actors (weasels, wind, door locks) join with various "pricks" in the poem in an attempt to protect Lucrece from her rapist, Tarquin. Through these objects, I investigate the limits of women's speech and its efficacy before concluding with a consideration of the poem's Edenic vision, a Humanist paradise-on-earth, in the guise of the Roman Republic. The next chapter follows a shorn section of hair through The Woodlanders as it performs various functions and is assigned responsibility and power by several different human characters in the novel. The hair acts within a network of "man-traps" that illustrate the dangers of human artifice in an industrial era, and it reveals to readers Hardy's certainty that we will never reclaim Eden in our postlapsarian world. Finally, I navigate the fantastic worlds of His Dark Materials with the aid of three powerfully agentive objects: a golden compass, a subtle knife, and an amber spyglass. The first and second, I insist, resist not only their user's intentions but also their author's, because they are imbued with so much life and power that the narrative cannot contain them. The spyglass, by contrast, performs exactly as it was designed to do, and reveals the secret of the perfectly symbiotic world of the creatures called mulefa, who model for us a very contemporary new Eden that is populated by hybrids, sustained by materialism and sensuality, and presided over by earthly individuals rather than an omniscient Creator. Pullman's trilogy brings us back to the Garden but insists that our fallen state is our triumph rather than our tragedy.

solid objects is a collection of objects and its cultural life, where the roles of the object, artist, collector, museum, writer, publisher and curator are suspended to reemerge in other possible forms. In this work the text becomes an object, the pocket a museum, the collection a persona, the artist its curator, the writer a sign.

The inhuman element in Djuna Barnes’s works has been widely acknowledged. So far the research has, however, concerned itself primarily with animality, thus neglecting the importance of things and thingliness in her texts. In this essay I outline a new way of approaching Barnes were things are taken into account as a vital element in her literary world, using theories on prostheses, fetishes and souvenirs. In Nightwood and four of the short stories, ”A Night Among the Horses”, ”Aller et Retour”, ”Cassation”, and ”The Grande Malade”, I examine clothing, interiors, collections, statues and dolls as objects that in different ways harbour meaning, dream, riddle, memory, history, longing and desire. The aim is not at translating these objects; my concern is not so much with what they mean, as how they mean; how they are used and thus how they interact with the characters.

Disertacija yra teorinis kantiškosios patyrimo sampratos tyrimas, kuriame nagrinėjamas Kanto epistemologinis apriorizmas, grindžiamas skirtimi tarp juslinės medžiagos ir konceptualinės pažinimo formos bei Kanto pažinimo teorijos metafizinė dalis. Tam tikrus metafizinius aspektus išreiškia kita svarbi kantiškoji skirtis tarp „daikto savaime“ ir „reiškinio“. Pastaroji skirtis yra integrali Kanto patyrimo teorijos dalis ir ji yra artimai susijusi su Kanto epistemologija. Disertacijoje pateikiamais argumentais siekiama parodyti abiejų pagrindinių kantiškųjų skirčių svarbius aspektus ir filosofines implikacijas, ir ypač svarbą daikto savaime idėjos, kuri išreiškia tam tikrų metafizinio ir empirinio pažinimo ribų supratimą Kanto patyrimo teorijoje. Disertacijoje kritikuojami įvairūs požiūriai į Kanto patyrimo teorijos dalis, taip pat remiamasi įvairių Kanto filosofijos interpretatorių ir tyrėjų veikalais. Istorinė kantiškosios patyrimo sampratos recepcijos apžvalga leido pateikti argumentus, kurie Kanto patyrimo sampratą supriešina su metafiziniu realizmu, su filosofija, grindžiama mąstymo ir būties vienove, ir su naiviuoju epistemologiniu realizmu. Taip pat tyrimas išryškina Kanto filosofinės patyrimo teorijos metafizinį nominalizmą ir epistemologinį realizmą. / The dissertation is a theoretical inquiry into Kantian conception of experience. It includes investigation of Kant’s epistemological apriorism, which is based on the difference between sensuous mater and conceptual form of cognition and the investigation of metaphysical part of Kantian theory of cognition. Certain metaphysical aspects are introduced by another significant distinction between “thing-in-itself” and “appearance”. The last difference is integral part of Kant’s theory of experience; it is closely combined with Kant’s epistemology. Polemics of the dissertation tends to show the significant aspects and philosophical implications of both main distinctions and especially the importance of idea of the thing-in-itself, which expresses certain understanding of the limits of metaphysical and empirical cognition in Kantian theory of experience. Present work not only criticizes various views on certain parts of Kant’s theory of experience, but at the same time uses the wide variety of other significant works of interpreters and investigators of Kant’s philosophy as well. The historical review of the reception of Kantian conception of experience enabled to present arguments contrasting Kant’s theory of experience with metaphysical realism and with the philosophy grounded on the postulate of unity of thinking and being and with naïve epistemological realism. Also research highlights metaphysical nominalism and epistemological realism apparent in Kant’s philosophical theory on... [to full text]

Disertacija yra teorinis kantiškosios patyrimo sampratos tyrimas, kuriame nagrinėjamas Kanto epistemologinis apriorizmas, grindžiamas skirtimi tarp juslinės medžiagos ir konceptualinės pažinimo formos bei Kanto pažinimo teorijos metafizinė dalis. Tam tikrus metafizinius aspektus išreiškia kita svarbi kantiškoji skirtis tarp „daikto savaime“ ir „reiškinio“. Pastaroji skirtis yra integrali Kanto patyrimo teorijos dalis ir ji yra artimai susijusi su Kanto epistemologija. Disertacijoje pateikiamais argumentais siekiama parodyti abiejų pagrindinių kantiškųjų skirčių svarbius aspektus ir filosofines implikacijas, ir ypač svarbą daikto savaime idėjos, kuri išreiškia tam tikrų metafizinio ir empirinio pažinimo ribų supratimą Kanto patyrimo teorijoje. Disertacijoje kritikuojami įvairūs požiūriai į Kanto patyrimo teorijos dalis, taip pat remiamasi įvairių Kanto filosofijos interpretatorių ir tyrėjų veikalais. Istorinė kantiškosios patyrimo sampratos recepcijos apžvalga leido pateikti argumentus, kurie Kanto patyrimo sampratą supriešina su metafiziniu realizmu, su filosofija, grindžiama mąstymo ir būties vienove, ir su naiviuoju epistemologiniu realizmu. Taip pat tyrimas išryškina Kanto filosofinės patyrimo teorijos metafizinį nominalizmą ir epistemologinį realizmą. / The dissertation is a theoretical inquiry into Kantian conception of experience. It includes investigation of Kant’s epistemological apriorism, which is based on the difference between sensuous mater and conceptual form of cognition and the investigation of metaphysical part of Kantian theory of cognition. Certain metaphysical aspects are introduced by another significant distinction between “thing-in-itself” and “appearance”. The last difference is integral part of Kant’s theory of experience; it is closely combined with Kant’s epistemology. Polemics of the dissertation tends to show the significant aspects and philosophical implications of both main distinctions and especially the importance of idea of the thing-in-itself, which expresses certain understanding of the limits of metaphysical and empirical cognition in Kantian theory of experience. Present work not only criticizes various views on certain parts of Kant’s theory of experience, but at the same time uses the wide variety of other significant works of interpreters and investigators of Kant’s philosophy as well. The historical review of the reception of Kantian conception of experience enabled to present arguments contrasting Kant’s theory of experience with metaphysical realism and with the philosophy grounded on the postulate of unity of thinking and being and with naïve epistemological realism. Also research highlights metaphysical nominalism and epistemological realism apparent in Kant’s philosophical theory on... [to full text]

Skräck har länge varit en fascinerande genre inom filmmediet. Alla har sin egna tolkning av vad skräck är för dem men många skräckfilmer är allmänt accepterade som skrämmande. En sådan skräckfilm är John Carpenters The thing. Filmen blev universellt ratad när den kom ut men har genom åren fått ett kultfölje. Eftersom filmen är så omtalad har det varit av intresse att undersöka skräckkomponenter den använder. För att avgränsa sig har uppsatsen fokuserat på bildkomposition och ljussättning i filmen. För att förstå filmens olika medel har uppsatsen delat upp analysen i olika stadier av skräck vilka är oro, fruktan, terror, skräck och avsky. Dessa stadier har sedan delats in i tre kapitel där oro och fruktan står för uppbyggnad, terror och avsky står för filmens monster som attackerar och skräck står för reaktion hos karaktärer. Genom denna uppdelning har uppsatsen undersökt hur de olika stadierna i skräck gestaltas med bildkompositioner och ljussättning. De genomgående slutsatserna är att kameraåkningar och olika sorters kontraster används för att försöka inge publiken i skräck. Utöver det så återanvänds olika bildkompositioner och ljussättningar för att återkoppla scener till varandra i ett försök att stärka de senare scenerna med vad som varit tidigare. Detta resultat sätts slutligen i ett perspektiv om hur det kan användas vilket är som potentiellt tillvägagångssätt för att skapa skräck samt grund för vidare studier om ämnet.

To view the Shelves Catalogue in the correct format: 1. Click "view"; 2. Click "page display"; 3. Click "Two Page View"; 4. Click "Show Cover Page in Two Page View" / This study explores how a narrative view of collecting can be expanded and applied to Ilya and Emilia Kabakov’s installations, as well as to my own artworks. It focuses on personal and intimate collections of everyday objects that serve to edify their owner’s sense of being. The project is undertaken in order to arrive at new interpretations of the themes of loss, meaning and absence through Mieke Bal’s (2006) narrative theory, Susan Pearce (1994) and Mikhail Epstein’s (1995) methods of collecting and Jean Baudrillard’s (1996) notions of the collector. These theories are applied to selected installations from the Kabakovs’ series Ten Characters. My own exhibition, S(h)elves, is an exploration of collections, underpinned by conceptually relevant theories. Conclusions are reached by means of literary analysis and comparison of selected theorists and artworks. A reflexive approach to art-making means that theories inform art-making processes while practical developments facilitate re-evaluated perceptions which lead to new insights. / Art History, Visual Arts and Musicology