117f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-17T12:04:22Z No. of bitstreams: 1 dissertacao Arthur Caria Filho.pdf: 985073 bytes, checksum: 4bca8399959291a4f9ea38465677db51 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-23T18:51:56Z (GMT) No. of bitstreams: 1 dissertacao Arthur Caria Filho.pdf: 985073 bytes, checksum: 4bca8399959291a4f9ea38465677db51 (MD5) / Made available in DSpace on 2013-05-23T18:51:56Z (GMT). No. of bitstreams: 1 dissertacao Arthur Caria Filho.pdf: 985073 bytes, checksum: 4bca8399959291a4f9ea38465677db51 (MD5) Previous issue date: 2005 / A dissertação ocupa-se da produção de Darcy Ribeiro, realizando uma leitura de textos ficcionais seus, tendo como foco a sua reflexão sobre a problemática dos povos indígenas e a formação do povo brasileiro. Partindo dos romances Maíra e Utopia Selvagem, a dissertação propõe uma leitura intertextual que leve em conta o conceito antropológico de transfiguração étnica de Darcy Ribeiro e explore as remissões a outros textos e livros lidas em sua produção, em especial, os diálogos com algumas narrativas de ?descobrimento? e de ?fundação? do Brasil. Com o apoio do estudo que faz Michel Foucault sobre as unidades discursivas, como as de ?obra? e ?livro?, e sobre a questão do ?autor?, assim como fazendo uso da noção de transtextualidade e da terminologia crítica proposta por Gerárd Genette, a dissertação lê um conjunto disperso de textos pertencentes a domínios discursivos tradicionalmente considerados como distintos, buscando estabelecer entre eles uma continuidade que satisfaça o ímpeto inicial de uma leitura da questão da identidade nacional na produção de Darcy Ribeiro, tendo como ponto de partida os seus textos ficcionais, e que contribua para ampliar a reduzida fortuna crítica sobre a questão identitária nacional em seus romances. / Salvador

À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration. / Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show.

This thesis draws on Michel Foucault's late work on the practices of the self to ask whether the ascetic practices and patterns of action suggested by contemporary computer games, which afford players the opportunities to pursue their own self-set goals, further what might be called a 'wandering' away from ourselves, a 'transformation' or 'transfiguration' of what we are. If self-formation is now a terrain on which power and resistance plays out, it is critical to be able to identify pernicious practices that may bind us to the individualising techniques of power, as opposed to transformative ones that enable us to refuse who we are in the move towards freedom. Broaching this question leads to considerations of the implicit ethical foundations presupposed by Foucault's anti-normative ethico-aesthetics, and the limitations of its appeal to a coherence or style seemingly without rules. These considerations have implications for the way in which we understand the practices of self-constitution in computer games. I question whether there is an isomorphism between the way in which power - understood through Foucault's concept of 'governmentality' - works in the present, and the way in which computer games set the conditions under which player practices take place. We are prompted by both to develop a non-coercive relation to a 'truth' through an impetus that originates from us. Computer games are about our identification with processes, which are strengthened by the feedback loops in the game and by the mode of being we elect to adopt as a hexis. Such a structure, however, is insufficiently rigid for computer games to produce discrete subjectivities, and analyses of them must be sensitive as to whether there are any systematic concatenation of player responses. To this end, I suggest a framework, based on Foucault's orthogonal understanding of power-subject, for uncovering the 'rationalities' within games, which are the conditions under which players' practices of the self take place, and which give rise to certain practices of self-constitution over others. It depends on our being able to find or infer player typologies, which are then analysed for their similar patterns of action. This framework is applied to a case study: levelling-up in The Elder Scrolls IV: Oblivion. On the basis of six typologies, a prominent structure of calculative anticipation and deferral emerges, as well as the existence of what is called a super-instrumental approach. In order to disambiguate these findings with respect to their transformative potential, I turn to the transcendental signifiers in Foucault's work and consider the practices of the self as seeking a balance between reason and sense - they are revisited through the lens of Schiller's play drive. This concretises the argument that if the practices of the self are thought capable of moving us towards freedom, we must assume the existence of non-cognitive faculties within us that, when engaged, enable us to be able to distinguish between positive and pernicious self-formation. Given that these judgments cannot be cognitively communicated, we ought to refrain from prescriptivism, yet do have recourse to standards. However, our efforts to cognitively understand this aesthetic interplay between reason and sense are certainly not without importance.

O Estudo de Caso é um método comumente utilizado nas pesquisas psicológicas e psiquiátricas. Freud, ao fundar a psicanálise, seguiu o mesmo modelo, apresentando estudos de caso a partir de tratamentos psicanalíticos ou de documentos escritos, embora ele oferecesse uma ligação íntima entre os sintomas observados e a história do sofrimento dos pacientes. Desenvolvendo um tipo específico de intervenção psicanalítica chamada ‘construção’, Fédida propõe a ‘Construção do Caso’, a qual está vinculada à supervisão do caso atendido. Ao examinar aspectos como a memória em psicanálise, a ficção, o dispositivo ‘Traço do Caso’, o autor desta Tese estuda o recolhimento dos dados pelo analistapesquisador e sua conseqüente transformação em caso metapsicológico a ser publicado. O estudo baseia-se na leitura das “Memórias de um Doente dos Nervos”, de Daniel Paul Schreber, nas “Notas Psicanalíticas sobre um Relato Autobiográfico de um Caso de Paranóia (Dementia Paranoides)”, de Sigmund Freud, e nas contribuições de Jacques Lacan em ‘De uma Questão Preliminar a Todo Tratamento Possível da Psicose’. O autor propõe considerar a ‘Construção Metapsicológica de Caso’ como um método de escritura do caso em sua vertente ficcional, o qual parte da figuração trazida pelo paciente em tratamento, recebendo, do psicanalista, uma transfiguração que garanta a sua inteligibilidade. Para o autor, o caso publicado é sempre do analista. / Case Study is a common method used in psychological and psychiatric research. Freud, when creating Psychoanalysis, followed this model and presented case studies from psychoanalytic treatments or written papers, but offering an close connection between the observed symptoms and the history of the patients sufferings. Developing an specific type of psychoanalytic intervention called “construction”, Fédida proposes a “Case construction” that is related to a supervision of the case under treatment. When analyzing in Psychoanalysis such issues as memory, fiction, the “trait of the case” device, the author of this Thesis studies the data collection by the analyst-researcher and its subsequent transformation in a meta-psychological case to be published. The study is based in readings of Daniel Paul Schreber’s “Memories of my nervous illness”, in Sigmund Freud’s “Psycho-Analytic notes upon an autobiographical account of a case of paranoia (Dementia paranoides)” and in Jacques Lacan’s contributions in “A preliminary question about any possible treatment of psychosis”. The author suggests the consideration of a “Metapsychological Case Construction” as a writing method for the case in its fictional side, that departing from the figuration brought by the patient to the treatment, receives a transfiguration of the fantasy from the psychoanalyst which guaranties its intelligibility. For the author, the published case always belongs to the analyst.

The thesis interprets the icon Transfiguration by Theofan the Greek. It collects the information needed for the interpretation. The first part is devoted to the meaning of a religious picture - an icon in the context of historical development of Byzantine art and Christian thinking. It presents Theofan the Greek as the author of the icon and the doctrine about the uncreated nature of the Light of Tabor, that emerged in his time and might have influenced his work. The second part is devoted to the nterpretation of the Transfiguration icon. It consist of an explication of the biblical texts which are related to the Transfiguration and reflects other possible resources of depiction: apocryphal texts and liturgy. The conclusion of the thesis holds the interpretation of the icon.

O Estudo de Caso é um método comumente utilizado nas pesquisas psicológicas e psiquiátricas. Freud, ao fundar a psicanálise, seguiu o mesmo modelo, apresentando estudos de caso a partir de tratamentos psicanalíticos ou de documentos escritos, embora ele oferecesse uma ligação íntima entre os sintomas observados e a história do sofrimento dos pacientes. Desenvolvendo um tipo específico de intervenção psicanalítica chamada ‘construção’, Fédida propõe a ‘Construção do Caso’, a qual está vinculada à supervisão do caso atendido. Ao examinar aspectos como a memória em psicanálise, a ficção, o dispositivo ‘Traço do Caso’, o autor desta Tese estuda o recolhimento dos dados pelo analistapesquisador e sua conseqüente transformação em caso metapsicológico a ser publicado. O estudo baseia-se na leitura das “Memórias de um Doente dos Nervos”, de Daniel Paul Schreber, nas “Notas Psicanalíticas sobre um Relato Autobiográfico de um Caso de Paranóia (Dementia Paranoides)”, de Sigmund Freud, e nas contribuições de Jacques Lacan em ‘De uma Questão Preliminar a Todo Tratamento Possível da Psicose’. O autor propõe considerar a ‘Construção Metapsicológica de Caso’ como um método de escritura do caso em sua vertente ficcional, o qual parte da figuração trazida pelo paciente em tratamento, recebendo, do psicanalista, uma transfiguração que garanta a sua inteligibilidade. Para o autor, o caso publicado é sempre do analista. / Case Study is a common method used in psychological and psychiatric research. Freud, when creating Psychoanalysis, followed this model and presented case studies from psychoanalytic treatments or written papers, but offering an close connection between the observed symptoms and the history of the patients sufferings. Developing an specific type of psychoanalytic intervention called “construction”, Fédida proposes a “Case construction” that is related to a supervision of the case under treatment. When analyzing in Psychoanalysis such issues as memory, fiction, the “trait of the case” device, the author of this Thesis studies the data collection by the analyst-researcher and its subsequent transformation in a meta-psychological case to be published. The study is based in readings of Daniel Paul Schreber’s “Memories of my nervous illness”, in Sigmund Freud’s “Psycho-Analytic notes upon an autobiographical account of a case of paranoia (Dementia paranoides)” and in Jacques Lacan’s contributions in “A preliminary question about any possible treatment of psychosis”. The author suggests the consideration of a “Metapsychological Case Construction” as a writing method for the case in its fictional side, that departing from the figuration brought by the patient to the treatment, receives a transfiguration of the fantasy from the psychoanalyst which guaranties its intelligibility. For the author, the published case always belongs to the analyst.

O Estudo de Caso é um método comumente utilizado nas pesquisas psicológicas e psiquiátricas. Freud, ao fundar a psicanálise, seguiu o mesmo modelo, apresentando estudos de caso a partir de tratamentos psicanalíticos ou de documentos escritos, embora ele oferecesse uma ligação íntima entre os sintomas observados e a história do sofrimento dos pacientes. Desenvolvendo um tipo específico de intervenção psicanalítica chamada ‘construção’, Fédida propõe a ‘Construção do Caso’, a qual está vinculada à supervisão do caso atendido. Ao examinar aspectos como a memória em psicanálise, a ficção, o dispositivo ‘Traço do Caso’, o autor desta Tese estuda o recolhimento dos dados pelo analistapesquisador e sua conseqüente transformação em caso metapsicológico a ser publicado. O estudo baseia-se na leitura das “Memórias de um Doente dos Nervos”, de Daniel Paul Schreber, nas “Notas Psicanalíticas sobre um Relato Autobiográfico de um Caso de Paranóia (Dementia Paranoides)”, de Sigmund Freud, e nas contribuições de Jacques Lacan em ‘De uma Questão Preliminar a Todo Tratamento Possível da Psicose’. O autor propõe considerar a ‘Construção Metapsicológica de Caso’ como um método de escritura do caso em sua vertente ficcional, o qual parte da figuração trazida pelo paciente em tratamento, recebendo, do psicanalista, uma transfiguração que garanta a sua inteligibilidade. Para o autor, o caso publicado é sempre do analista. / Case Study is a common method used in psychological and psychiatric research. Freud, when creating Psychoanalysis, followed this model and presented case studies from psychoanalytic treatments or written papers, but offering an close connection between the observed symptoms and the history of the patients sufferings. Developing an specific type of psychoanalytic intervention called “construction”, Fédida proposes a “Case construction” that is related to a supervision of the case under treatment. When analyzing in Psychoanalysis such issues as memory, fiction, the “trait of the case” device, the author of this Thesis studies the data collection by the analyst-researcher and its subsequent transformation in a meta-psychological case to be published. The study is based in readings of Daniel Paul Schreber’s “Memories of my nervous illness”, in Sigmund Freud’s “Psycho-Analytic notes upon an autobiographical account of a case of paranoia (Dementia paranoides)” and in Jacques Lacan’s contributions in “A preliminary question about any possible treatment of psychosis”. The author suggests the consideration of a “Metapsychological Case Construction” as a writing method for the case in its fictional side, that departing from the figuration brought by the patient to the treatment, receives a transfiguration of the fantasy from the psychoanalyst which guaranties its intelligibility. For the author, the published case always belongs to the analyst.

Made available in DSpace on 2014-07-29T16:19:08Z (GMT). No. of bitstreams: 1 Dissertacao - Miliana Mariano da Silva.pdf: 874920 bytes, checksum: 650e86c29991cbc1fb2af66ebd0ac556 (MD5) Previous issue date: 2012-04-17 / Considering the role of memory in the construction of literary discourse, this study analyzes the writing of memory as rebuilding works in Infância, Graciliano Ramos, Doidinho, José Lins do Rego, Boitempo, Carlos Drummond de Andrade and Vintém de Cobre: meias confissões de Aninha, Cora Coralina, the authors analyze how these resume passed to the constitution of subjectivity. Looking at the historical context of late nineteenth and early twentieth century, a time when the works are included, the interest is to understand the social space, especially the family and school environments, in which they circulate and are related subjects - narrator and I -poetic - and how these relationships come to them and what shape the design of these aesthetic and literary works. The study argues on the conceptions of Halbwachs (2006), Thompson (2002) and Bosi (1994), to investigate memory and analyze it in relation to history and literature, in order to enhance the story as a clever memory tool for development of literary texts, which make use of aesthetic devices of language, by rescuing individual experiences, but supported by a collective context to which the writer is rooted. / Considerando o papel da memória na construção do discurso literário, este estudo objetiva refletir sobre a escrita da memória como recriação nas obras Infância, de Graciliano Ramos, Doidinho, de José Lins do Rego, Boitempo, de Carlos Drummond de Andrade e Vintém de Cobre: meias confissões de Aninha, de Cora Coralina, ao analisar como esses autores retomam o passado para a constituição da subjetividade. Observando o contexto histórico do final do século XIX e início do século XX, época em que se inserem as obras, o interesse é compreender o espaço social, especialmente os ambientes familiar e escolar, em que circulam e se relacionam os sujeitos narrador e eu-poético , e como essas relações e o que delas advêm se configuram no projeto estético-literário das referidas obras. O estudo sustenta-se nas concepções de Halbwachs (2006), Thompson (1992) e Bosi (1994), para investigar sobre a memória e analisá-la na relação com a história e a literatura, no intuito de realçar o relato memorialístico como uma hábil ferramenta para elaboração dos textos literários, os quais se valem dos aparatos estéticos da linguagem, ao resgatar vivências individuais, mas amparadas por um contexto coletivo ao qual o escritor está arraigado.

A presente pesquisa teve como objetivo o estudo da Vita Nova de Dante Alighieri, onde o Amor, as musas e outros personagens surgem da mitologia grega. Esse Amor pagão é cristianizado por Dante, que o transforma na figura de Deus. Beatriz passa a ser a Musa de Dante, que é chamada pelo poeta primeiro de gentilissima, depois donna angelo, santa, filósofa e teóloga. No Convívio, pode-se constatar a aproximação de sua deusa à sabedoria filosófica e teológica. Tudo isso se passa pela elaboração da poesia, bem como a Divina Comédia, que são, segundo o autor, alegorias. Foram feitas algumas incursões na Divina Comédia para confirmar tais configurações entrou-se em trechos do Purgatório e do Paraíso. / The purpose of this research was to study Dante Alighieri\'s Vita Nova, where Love, muses, and other characters emerge from the Greek mythology. This pagan love is christianized by Dante, who transforms it into the figure of God. Beatrice becomes Dante\'s muse, who is initially called by him as very gentle lady, then as donna angelo (woman-angel), saint, philosopher and theologian. In Convivio, an approach between his goddess and a philosophical and theological wisdom can be observed. Convivio, as well as The Divine Comedy, are written in poetry and are both, according to the author, allegories.

A presente pesquisa teve como objetivo o estudo da Vita Nova de Dante Alighieri, onde o Amor, as musas e outros personagens surgem da mitologia grega. Esse Amor pagão é cristianizado por Dante, que o transforma na figura de Deus. Beatriz passa a ser a Musa de Dante, que é chamada pelo poeta primeiro de gentilissima, depois donna angelo, santa, filósofa e teóloga. No Convívio, pode-se constatar a aproximação de sua deusa à sabedoria filosófica e teológica. Tudo isso se passa pela elaboração da poesia, bem como a Divina Comédia, que são, segundo o autor, alegorias. Foram feitas algumas incursões na Divina Comédia para confirmar tais configurações entrou-se em trechos do Purgatório e do Paraíso. / The purpose of this research was to study Dante Alighieri\'s Vita Nova, where Love, muses, and other characters emerge from the Greek mythology. This pagan love is christianized by Dante, who transforms it into the figure of God. Beatrice becomes Dante\'s muse, who is initially called by him as very gentle lady, then as donna angelo (woman-angel), saint, philosopher and theologian. In Convivio, an approach between his goddess and a philosophical and theological wisdom can be observed. Convivio, as well as The Divine Comedy, are written in poetry and are both, according to the author, allegories.