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Nas primeiras décadas do século XX, em um contexto cultural caracterizado por experimentações, redefinições e rupturas, no qual se desenvolveram as chamadas vanguardas artísticas européias, arquitetura, cidade e cinema estabeleceram entre si diferentes formas de interlocução, inclusive a criação de arquiteturas e cidades destinadas exclusivamente para os filmes. Estreitamente vinculadas às problemáticas de seu tempo, estas arquiteturas e cidades ficcionais dialogaram diretamente com as experimentações realizadas no âmbito artístico e arquitetônico das vanguardas, além de configurarem um veículo direto de comunicação com o público de massas. A partir de três filmes produzidos no cinema europeu do período entreguerras - Aelita (Yakov Protazanov, URSS, 1924), Metropolis (Fritz Lang, Alemanha, 1927) e Things to Come (Daqui a Cem Anos, William Cameron Menzies, Inglaterra, 1936) - este trabalho analisa estas arquiteturas e cidades cinematográficas, seus processos de concepção, produção e difusão, assim como suas interlocuções com o contexto cultural vigente. Através de artifícios intrínsecos à linguagem e à narrativa cinematográficas, estas obras incorporam em suas visões de cidade muitos dos aspectos da metrópole do início do século XX, assim como das propostas arquitetônicas e urbanísticas desenvolvidas naquele período, configurando espaços de problematização e articulação de idéias, tratando de questões como: a vida na metrópole e as ambigüidades e contradições impostas ao habitante metropolitano; as novas tecnologias, e as formas como estas impactavam o cotidiano e incitavam a imaginação; as experimentações formais das vanguardas artísticas e a busca pela superação dos limites entre arte e vida; as novas concepções de arquiteturas e cidades, e seu intuito de criar novas lógicas de organização espacial e urbana, que poderiam contribuir para a criação de um novo homem e uma nova sociedade. / In the first decades of the twentieth century, in the cultural context of the European Avant Gardes, architecture, city and cinema had established between themselves different forms of dialogue, including the creation of fictional architectures and cities destined exclusively for the films. Through the analysis of three films - Aelita (Yakov Protazanov, USSR, 1924), Metropolis (Fritz Lang, Germany, 1927) and Things to Come (William Cameron Menzies, 1936), this work seeks to identify the ways that these cinematographic architectures and cities, developed for the European cinema in the interwar period, had reflected, reformulated and released for the masses such issues as: the life in the metropolis and the ambiguities and contradictions imposed to the metropolitan inhabitant; the new technologies, and the ways they impacted the daily lives and incited the imagination; the formal experimentations of the avant-gardes and the pursuit of overcoming the boundaries between art and life; the new conceptions of architectures and cities, and its intention to create new logics of space and urban organizations, which could contribute to the creation of a new man and a new society.

Nas primeiras décadas do século XX, em um contexto cultural caracterizado por experimentações, redefinições e rupturas, no qual se desenvolveram as chamadas vanguardas artísticas européias, arquitetura, cidade e cinema estabeleceram entre si diferentes formas de interlocução, inclusive a criação de arquiteturas e cidades destinadas exclusivamente para os filmes. Estreitamente vinculadas às problemáticas de seu tempo, estas arquiteturas e cidades ficcionais dialogaram diretamente com as experimentações realizadas no âmbito artístico e arquitetônico das vanguardas, além de configurarem um veículo direto de comunicação com o público de massas. A partir de três filmes produzidos no cinema europeu do período entreguerras - Aelita (Yakov Protazanov, URSS, 1924), Metropolis (Fritz Lang, Alemanha, 1927) e Things to Come (Daqui a Cem Anos, William Cameron Menzies, Inglaterra, 1936) - este trabalho analisa estas arquiteturas e cidades cinematográficas, seus processos de concepção, produção e difusão, assim como suas interlocuções com o contexto cultural vigente. Através de artifícios intrínsecos à linguagem e à narrativa cinematográficas, estas obras incorporam em suas visões de cidade muitos dos aspectos da metrópole do início do século XX, assim como das propostas arquitetônicas e urbanísticas desenvolvidas naquele período, configurando espaços de problematização e articulação de idéias, tratando de questões como: a vida na metrópole e as ambigüidades e contradições impostas ao habitante metropolitano; as novas tecnologias, e as formas como estas impactavam o cotidiano e incitavam a imaginação; as experimentações formais das vanguardas artísticas e a busca pela superação dos limites entre arte e vida; as novas concepções de arquiteturas e cidades, e seu intuito de criar novas lógicas de organização espacial e urbana, que poderiam contribuir para a criação de um novo homem e uma nova sociedade. / In the first decades of the twentieth century, in the cultural context of the European Avant Gardes, architecture, city and cinema had established between themselves different forms of dialogue, including the creation of fictional architectures and cities destined exclusively for the films. Through the analysis of three films - Aelita (Yakov Protazanov, USSR, 1924), Metropolis (Fritz Lang, Germany, 1927) and Things to Come (William Cameron Menzies, 1936), this work seeks to identify the ways that these cinematographic architectures and cities, developed for the European cinema in the interwar period, had reflected, reformulated and released for the masses such issues as: the life in the metropolis and the ambiguities and contradictions imposed to the metropolitan inhabitant; the new technologies, and the ways they impacted the daily lives and incited the imagination; the formal experimentations of the avant-gardes and the pursuit of overcoming the boundaries between art and life; the new conceptions of architectures and cities, and its intention to create new logics of space and urban organizations, which could contribute to the creation of a new man and a new society.

[pt] Esta tese discute relações ético-políticas entre o pensar a dança e o pensar a filosofia a partir da desconstrução de Jacques Derrida. Toma como premissa que a dança performa um modo de pensamento desafiador para a herança arquipedagógico-filosófica que encerra a filosofia na tarefa restrita ao cálculo apreensível e antecipatório mano-visual. Em sua aproximação, o que entendemos como pensamento da dança faz tremer essa perspectiva, o que não significa dizer que a dança e seus artistas tenham meios para questionar a filosofia, mas que são portadores de um pensar que não se encerra no campo da produção conceitual filosófica. Assim, com a aproximação entre dança e filosofia, pretende-se explorar algumas possibilidades que se abrem, em tal encontro, para a experiência de um pensamento transdisciplinar e não conceitual. O argumento é desenvolvido a partir de três importantes noções pensadas pelo filósofo franco-argelino: evento por vir, democracia por vir e razão por vir — que são suplementares à tarefa de abertura radical do sim, sim ao pensar. Outras temáticas derridianas correlacionadas à discussão que aqui se propõe são abordadas, como: o direito à filosofia, a questão da ipseidade, a espectralidade, o mal de arquivo, o fato econômico circular e narrativo e o pensar em não ver. Apesar de se concentrar majoritariamente em questões lançadas por Derrida, esta tese evoca um tom multiautoral, combinando outras assinaturas de filosofia, teorias da dança e estudos da performance (bem como obras de dança e artes da performance). / [en] The dissertation discusses ethical and political relations between thinking dance and thinking philosophy with Jacques Derrida s deconstruction. Its premise is that dance performs a way of thinking that challenges the arch-pedagogyphilosophical heritage that closes philosophy at the restricted task of hand-visual calculation. In its approach, what we understand as dance s thought shakes this perspective, which doesn t means that the dance and its artists have the means to question the philosophy, but who are carriers of a thinking that does not end in the field of philosophical conceptual production. Thus with the approach between dance and philosophy, we intend to explore some possibilities that open for the experience of a cross-disciplinary thinking and not conceptual. The argument is developed from three important notions designed by the French-Algerian philosopher: event to come, democracy to come and reason to come - that works together in the radical opening task of yes, yes to the thinking. Other Derridean themes are dialogued as: right to philosophy, ipseity, spectrality, archive fever, narrative and circular economic factor and blind thinking. Although the dissertation is focused mainly on Derrida s proposals its text evokes a multiauthorial tone, combining other signatures of Philosophy, Theories of Dance and Performance Studies, as well as works of dance and performance.

Submitted by William Justo Figueiro (williamjf) on 2015-07-27T21:45:13Z No. of bitstreams: 1 13d.pdf: 1162077 bytes, checksum: 608d6cf61021e693ab5f04d08af841a6 (MD5) / Made available in DSpace on 2015-07-27T21:45:13Z (GMT). No. of bitstreams: 1 13d.pdf: 1162077 bytes, checksum: 608d6cf61021e693ab5f04d08af841a6 (MD5) Previous issue date: 2011-04-18 / Nenhuma / Esta dissertação busca relacionar o conceito de multidão de Antonio Negri e Michael Hardt e o indymedia center – rede global de coletivos de mídia independente – para a criação de conceito, o de jornalismo de multidão. O conceito proposto se refere à resistência principalmente às mídias hegemônicas. O indymedia é feito pela multidão, os grupos de resistência dos pobres e os movimentos por outra globalização, e ele faz multidão, por tentar criar território a-centrado. Pensado assim, o indymedia é mapa aberto a inúmeras singularidades, o que nos remete ao nosso problema: quais são os elementos do mapa da resistência permitido pelo indymedia? A dissertação faz duplo movimento: pesquisa teórica de autores da crítica, como Antonio Negri, Michael Hardt, Gilles Deleuze, Félix Guattari e Giuseppe Cocco; e pesquisa de documentos da rede indymedia. As relações entre esses dois movimentos permitem com que o jornalismo de multidão seja continuidade dessas teorias no campo das mídias. / The purpose of this dissertation is to link Antonio Negri and Michael Hardt's concept of crowd to indymedia center - a global network of independent media - to create a new concept: the concept of “crowd journalism”. The suggested concept refers especially to the resistance to the hegemonic media. Indymedia is made by the crowd, by resistance groups of the poor and by movements for a different globalization and it makes crowd, by trying to create a non-centered territory. Thus, Indymedia is an open map of countless uniquenesses, what directs us to our problem: what elements of the resistence map are enabled by Indymedia? The dissertation passes by two topics - theoretical research in authors of the criticism, like Antonio Negri, Michael Hardt, Gilles Deleuze, Félix Guattari and Giuseppe Cocco; and research of documents of Indymedia network. The links between theses topics allow “crowd journalism” to be the continuity of these theories in media fields.

This  article  aims  to  perform  a  reading  of  the  Derridean notion of democracy to come”. Taking this notion as a starting point, the author makes a deep reading of the problems of democracy with regard to its foundation and concept. Our hypothesis is that democracy to come” allows Derrida to put democracy -as a resistance to any totalizing closure in the name of the common and the same- into an abyss. At the same time, we’ll interpret this notion considering its links with sovereignty and unconditionality, understanding the latter as an infinite openness to otherness. / El presente artículo intenta realizar una lectura de la noción derrideana de democracia por venir”. A partir de esta noción el autor realiza una profunda lectura de la problemática de la democracia, tanto en lo que concierne a su fundamentación como a su concepto. Nuestra hipótesis es que la democracia por venir” permite a Derrida poner en un abismo a la democracia como resistencia a toda clausura totalizante en nombre de lo común y de lo igual. A la vez, nos interesará pensar  esta  noción  en  su  vinculación  con  la  soberanía  y  la  incondicionalidad, entendida esta última como apertura infinita a la alteridad.Palabras clave:

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-06T18:25:47Z No. of bitstreams: 1 giseladelimaalmeidamarques.pdf: 344637 bytes, checksum: 6e38d023cd2fbba7bbe3bcf9da8a3655 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-07T12:16:44Z (GMT) No. of bitstreams: 1 giseladelimaalmeidamarques.pdf: 344637 bytes, checksum: 6e38d023cd2fbba7bbe3bcf9da8a3655 (MD5) / Made available in DSpace on 2016-10-07T12:16:44Z (GMT). No. of bitstreams: 1 giseladelimaalmeidamarques.pdf: 344637 bytes, checksum: 6e38d023cd2fbba7bbe3bcf9da8a3655 (MD5) Previous issue date: 2009-09-21 / O objeto desta pesquisa é a análise de sentenças do Português do Brasil (PB) que contêm o verbo de movimento chegar. Encontramos, na escrita e na oralidade, construções com o verbo chegar lexical, que pode funcionar como um verbo pleno, ou ainda que pode funcionar, em processo de gramaticalização, como verbo quaseauxiliar . Ao analisarmos o verbo como lexical, observamos que ele pode ser monovalente ou bivalente. Sempre apresenta um sujeito e, como complemento, seleciona, na maioria dos casos, um locativo. Pode selecionar ainda o complemento indireto, ou seja, quando o argumento indica que um determinado ponto foi atingido. Este argumento denota, normalmente, um preço, uma posição/colocação e uma porcentagem. Em processo de gramaticalização, o verbo chegar passou no teste de verbos auxiliares, contudo, como não é esvaziado de sentido nas perífrases verbais CHEGAR A + INFINITIVO, consideramos um quase/semi-auxiliar, de acordo com a proposta por Travaglia (2003). / The object of this research is the analysis of sentences from the Brazilian Portuguese (BP) that contains the verb of movement chegar. It´s found – in the writing and speaking – constructions with the lexical verb chegar, that can work as a complete verb, or it can work, in process of grammaticalization, as a quase-auxiliar verb. When the verb is analyzed as lexical, it can be monovalent or bivalent. There is always a subject and, as a complement, select, most of times, a locative. It can still select the indirect complement, i.e., when the argument indicates that a specific point was reached. This argument indicates, normally, a price, a position/collocation and a percentage. In process of grammaticalization, the verb CHEGAR has been approved in the test of auxiliary verbs, however, as it´s not emptied of sense in the verbal periphrasis CHEGAR A + INFINITIVE, we consider a quase/semi-auxiliar, according to a proposal for Travaglia (2003).

Text in Afrikaans / Because of the variety of relationships which exist between transitive verbs and their objects, all direct objects are not comparable with one another. One class of object, however, which stands by itself and which is of considerable interest, is the OBJECT OF RESULT. Because of the particular relation which exists between object and transitive verb in resulting constructions, we have here an unique class of direct object. The resulting construction is therefore, in the first instance a relation construction. This specific relation between transitive verb and object is mainly determined by the presence of or absence of certain inherent distinctive characteristics by transitive verbs and which play a determining role in identifying OBJECTS OF RESULT. From this study it is also clear that there is a semantic value present in transitive verbs (that can combine with objects of result) which has not been observed or distinguished by lexicographers and grammarians until recently. / Omdat voorwerpe van sinne in 'n verskeidenheid van betrekkinge met (oorganklike) werkwoorde kan staan, is alle direkte voorwerpe nie almal in alle opsigte vergelykbaar met mekaar nie. Waarskynlik die interessantste voorwerp in hierdie verskeidenheid is die RESULTATIEWE VOORWERP. As gevolg van die besondere verhouding wat daar bestaan tussen hierdie voorwerp en die HW, het ans hier te make met 'n unieke tipe direkte voorwerp wat kan aanspraak maak op 'n eie bestaansreg as 'n subkategorie van die hoofkategorie: Direkte Voorwerpe. Die resulterende konstruksie is dus, in die eerste plek, 'n verhoudingskonstruksie. Hierdie spesifieke verhouding tussen die HW en die voorwerp word grootliks bepaal deur die aan- of afwesigheid van sekere inherente distinktiewe kenmerke wat by oorganklike werkwoorde voorkom en wat 'n bepalende rol speel by die ontstaan van en identifisering van RESUL TATIEWE VOORWERPE. Uit hierdie ondersoek sal verder blyk dat daar 'n semantiese waarde by oorganklike werkwoorde is wat tot dusver nag nie deur taalkundiges/woordeboekmakers of woordverklaarders onderskep en onderskei is nie. Oorganklike werkwoorde kan dus fyner gedefinieer word ten opsigte van hul verbindbaarheid, al dan nie, met resultatiewe voorwerpe. / Language Education, Arts and Culture / M.A. (Afrikaans)

Text in Afrikaans / Because of the variety of relationships which exist between transitive verbs and their objects, all direct objects are not comparable with one another. One class of object, however, which stands by itself and which is of considerable interest, is the OBJECT OF RESULT. Because of the particular relation which exists between object and transitive verb in resulting constructions, we have here an unique class of direct object. The resulting construction is therefore, in the first instance a relation construction. This specific relation between transitive verb and object is mainly determined by the presence of or absence of certain inherent distinctive characteristics by transitive verbs and which play a determining role in identifying OBJECTS OF RESULT. From this study it is also clear that there is a semantic value present in transitive verbs (that can combine with objects of result) which has not been observed or distinguished by lexicographers and grammarians until recently. / Omdat voorwerpe van sinne in 'n verskeidenheid van betrekkinge met (oorganklike) werkwoorde kan staan, is alle direkte voorwerpe nie almal in alle opsigte vergelykbaar met mekaar nie. Waarskynlik die interessantste voorwerp in hierdie verskeidenheid is die RESULTATIEWE VOORWERP. As gevolg van die besondere verhouding wat daar bestaan tussen hierdie voorwerp en die HW, het ans hier te make met 'n unieke tipe direkte voorwerp wat kan aanspraak maak op 'n eie bestaansreg as 'n subkategorie van die hoofkategorie: Direkte Voorwerpe. Die resulterende konstruksie is dus, in die eerste plek, 'n verhoudingskonstruksie. Hierdie spesifieke verhouding tussen die HW en die voorwerp word grootliks bepaal deur die aan- of afwesigheid van sekere inherente distinktiewe kenmerke wat by oorganklike werkwoorde voorkom en wat 'n bepalende rol speel by die ontstaan van en identifisering van RESUL TATIEWE VOORWERPE. Uit hierdie ondersoek sal verder blyk dat daar 'n semantiese waarde by oorganklike werkwoorde is wat tot dusver nag nie deur taalkundiges/woordeboekmakers of woordverklaarders onderskep en onderskei is nie. Oorganklike werkwoorde kan dus fyner gedefinieer word ten opsigte van hul verbindbaarheid, al dan nie, met resultatiewe voorwerpe. / Language Education, Arts and Culture / M.A. (Afrikaans)

Suivant la tendance de la coopération internationale, la recherche comparative entre les cultures devient de plus en plus importante. Dans la mesure où la sinologie et la culture de l’Occident se croisent sur certains points de vue notamment autour de la philosophie politique de Derrida fondée sur la recherche du terme d’amitié. Face à la violence politique au nom de la justice, de la démocratie ou des droit de l’homme, Derrida énonce que c’est la politique actuelle est dominée par la maladie auto-immunitaire, par laquelle la démocratie s’enferme à l’intérieur du territoire de l’Etat, dans la mesure où l’authenticité de la démocratie, à savoir la démocratie universelle n’est pas encore présente. Considérant que les réformes dans le cadre de la politique n’aident pas à résoudre l’auto-immunité, Derrida pense qu’il nous faut retourner à l’idéologie en repensant le terme d’amitié en tant que racine des relations humaines en société, dans le but d’accéder à l’idée de l’hospitalité inconditionnelle et par conséquent à la démocratie universelle. C’est aussi pourquoi Derrida commence sa recherche de la philosophie politique à partir du terme d’amitié. En ce sens, Derrida traite de l’amitié canonique dans l’histoire occidentale, à savoir l’amitié antique, l’amitié chrétienne et l’amitié rationaliste, en aboutissant à la conclusion que l’amitié canonique de l’Occident favorise le même en supprimant la différence, dans la mesure où la consanguinité, la frontière jouent un rôle fondamental tout au long de l’histoire occidentale, ce qui détermine la démocratie conditionnelle fondée sur la souveraineté de l’Etat-nation. Cette manière de partir de l’amitié existe également dans le Confucianisme en tant qu’essentiel de la culture sinologique traditionnelle. Car l’image de frère, à savoir la consanguinité persiste tout au long de l’histoire sinologique en tant qu’axe, dans la mesure où les structures du clan et de la famille monopolisent la politique féodale de la Chine. Ce qui nous permet de constater la similarité plutôt que la divergence entre les cultures. De plus, face à l’amitié fondée sur la consanguinité et la frontière, Derrida propose une nouvelle sorte d’amitié qui offre l’hospitalité inconditionnelle dans le but de supprimer l’auto-immunité politique en aboutissant à « la démocratie à venir », bien que son infini absolu provoque un écart entre l’idéologie et la pratique. Nous constatons en effet l’amour universel de Mo Tzu dans la culture sinologique traditionnelle correspondant à l’amitié de Derrida qui se détache de la consanguinité, par laquelle, la société « Da-Tong » qui implique la démocratie universelle se présente toujours comme la société idéale dans l’histoire de la Chine. Cela risque de provoquer aussi un écart entre l’idéologie et la politique pratique, dans la mesure où les deux cultures se croisent plutôt qu’elles ne divergent. Cette étude vise, par la mise en regard entre les cultures, à clarifier la transition de la politique à la morale, dans le but de traiter de « la démocratie à venir » et la société « Da-Tong » avec une attitude objective face à la critique de l’Utopie. Au cours de cette étude nous constaterons que la conversation entre les cultures devient de plus en plus importante sous le cosmopolitisme universel. / Following the trend of international cooperation, comparative research across cultures becomes increasingly important. Consequently Sinology and Western culture could intersect at certain points of view, particularly around Derrida’s political philosophy research based on the term friendship. Faced with political violence in the name of justice, democracy or human rights, Derrida states that the current policy is dominated by the disease of “autoimmunity”, by which democracy is locked to the within the territory of the State. So the universal democracy as the authenticity of democracy is not yet present. Considering that the reforms in the policy framework does not help to solve the “autoimmunity”, Derrida believes that we should return to the ideology by reflecting the term friendship as the root of human relations in society, in order to access the idea of the unconditional hospitality and therefore the universal democracy. This is why Derrida begins his research of political philosophy from the term friendship. In this sense, Derrida discusses the canonical friendship, namely the ancient friendship, Christian friendship and rationale friendship, in the western history, in concluding that the canonical friendship of the Western history favors the sameness by eliminating the difference, as far as the consanguinity, the frontier play a foundational rule throughout the Western history, which determines the conditional democracy based on the sovereignty of the nation-state. This way of beginning from the friendship exists also in Confucianism which acts as the essential of sinology, because of the image of brother, in other words the consanguinity persists throughout the sinological history as an axis, and in terms of structures of clan and family which monopolize the feudal politics of China. This allows us to note the similarities rather than the differences between the two cultures. In addition, face to the friendship based on consanguinity and the frontier, Derrida proposes a new way of friendship which contains the unconditional hospitality, in order to suppress the disease of autoimmunity, then lead to "democracy to come", even if it might causes a gap between ideology and political practice. Indeed, the “universal love” exists also in sinological history, for example in the theory of Mo Tzu. By which the society "Da-Tong" implying a universal democracy is always presented as the ideal society in the history of China. This may also make a gap between ideology and practical politics regarding the two cultures intersect instead of diverging. Face to the critiques concerning Utopia of "democracy to come" and the society "Da-Tong", this study aims at the confrontation between cultures, the transition between politics and ethics, in order to deal with these concepts with an objective attitude. In this process of comparative research we find that the conversation between cultures becomes increasingly important in universal cosmopolitanism.