Made available in DSpace on 2016-12-23T14:09:39Z (GMT). No. of bitstreams: 1 Dissertacao Leonardo Machado.pdf: 990334 bytes, checksum: c1ab0bbc41439641544b756fb5948e45 (MD5) Previous issue date: 2011-05-30 / This work tries to grasp on what foundations Walter Benjamin s proposal of a need of a politicizing of art lies upon. To do so, we ve focused, mainly but not only, on his 1930 s writings, because his production is explicitly engaged in a political perspective during this period. The fragmentary fashion of his work has forced us to build a constellation of elements to sustain our own interpretation, being: a) his very particular conception of History and the influence of this conception in the forms mankind has been producing, perceiving and comprehending itself throughout the years as well; b) the relationship between progress and changes within the production s conditions, both material and spiritual (or intellectual); mainly the deep transformations which have happened because of the overwhelming material development caused by Industrial Revolution; and c) the specifically political element which shows itself because of the previous ones: as soon as one can understand in what way the capitalism s progress has changed deeply the structure of human s experience in the world, as well as their way of comprehending this same world (within arts, philosophy, religion, etc.), one can, so, comprehend this Benjamin s demanding that not only the art , but the whole critical and intellectual production should drive itself into a politicized perspective / Este trabalho busca investigar em que bases se assenta a proposta de Walter Benjamin sobre a necessidade de uma politização da arte . Para tal buscamos nos focar, principal, mas não exclusivamente, nos textos produzidos na década de 1930, período em que a produção dos ensaios de Benjamin aconteceu de uma forma mais explicitamente engajada do ponto de vista político. O caráter fragmentário da produção deste pensador obrigou-nos a construir uma constelação de elementos que pudessem sustentar nossa interpretação, a saber: a) a concepção benjaminiana de história, bem como a influência desta concepção nas próprias formas de perceber, compreender e produzir das coletividades humanas; b) a relação entre os avanços e transformações das condições de produção material e intelectual, sobretudo as profundas modificações ocorridas graças ao vertiginoso desenvolvimento material ocasionado pela Revolução Industrial; e c) o elemento propriamente político que se mostra a partir dos anteriores: na medida em que se compreende de que forma o progresso do capitalismo alterou fundamentalmente a experiência dos homens no mundo, assim como sua forma de compreender esse mesmo mundo, (nas artes, na filosofia, na religião, etc.), torna-se, então, possível de se compreender a exigência de Benjamin de que, não apenas a arte , mas que a produção crítica se oriente para uma perspectiva politizada

Entre hier et aujourd’hui, entre la culture spectaculaire de la fin du XIXe siècle, le cinéma et la pratique des jeux vidéo, cette thèse explore les enjeux critiques d’une pensée des rapports du corps à la machine au prisme de la notion benjaminienne d’innervation. A partir d’une notion historiographique élaborée au sein de la thèse, celle de « continuité critique » qui consiste à déterminer des phénomènes de permanence à travers l’histoire, notre travail vise à définir une critique opératoire des nouveaux médias. Depuis les notions d’innervation et de continuité critique, nous étudions dans une perspective historique et théorique deux « états du corps » déterminant des points de résonance manifestes entre passé et présent. L’un se situe au tournant du siècle, l’autre au cours des années 1980. Le premier concerne le devenir-attraction des machines autour de 1900. Dans le prolongement de Tom Gunning nous pensons une telle attraction dans les termes d’un corps à corps entre le spectateur et la machine. À travers la culture visuelle et spectaculaire fin-de-siècle, nous identifions un motif récurrent : le voyage immobile. Nous étudions alors l’actualité critique d’un tel motif jusqu’à nos jours comme quelque chose qui, en dépit des innovations techniques, n’a pas changé. Le second état s’intéresse cette fois-ci aux transformations qui concernent les rapports du corps à l’écran dans la pratique du jeu vidéo. Il s’agit d’étudier cette fois-ci un ensemble de représentations qui apparaissent entre le début des années 1980 et le milieu des années 1990 et attestant la récurrence d’un autre motif : l’écran traversé. L’étude de ces deux motifs nous permet, par le biais de l’histoire, de formuler une critique des nouveaux médias sur le terrain-même de la nouveauté. / Between past and present, between the turn-of-the-century spectacular culture, cinema and video games, our thesis explores the critical aspects of body-machine relationships understandings regarding Walter Benjamin’s concept of innervation. From a historiographical concept formulated within this work, i. e. “critical continuity” which consists in crafting permanencies though history, our purpose is to delineate an operating critic of the new media. From the concepts of innervation and critical continuity, we explore two defining “state of body” to draw resonances between past and present. One takes place at the turn of the century while the other takes place during the 1980’s. The former concerns the becoming-attraction of the machines circa 1900. Extending Tom Gunning’s concept, we understand such an attraction as a corporeal relationship between the spectator’s body and the machine. Through 1900’s visual and spectacular culture, we examine a recurring topos: the immobile voyage. We find and explore the critical topicality of such a topos up to present day as something that has never changed despite technical innovations. The latter state explores the transformations regarding the body-screen relationships in video game practice. We study a collection of representations appearing between the early 1980’s up to the middle of the 1990’s featuring another recurring topos: the screen crossed whether by the game’s universe whether by the player. These two topoi help us to conceive a critic of the new media on the very basis of novelty.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T18:33:39Z No. of bitstreams: 1 dissertacao-rosana-biondillo.pdf: 781686 bytes, checksum: 01ba1b8c79672ed37d4c137f821dd204 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T19:00:55Z (GMT) No. of bitstreams: 1 dissertacao-rosana-biondillo.pdf: 781686 bytes, checksum: 01ba1b8c79672ed37d4c137f821dd204 (MD5) / Made available in DSpace on 2016-06-22T19:00:55Z (GMT). No. of bitstreams: 1 dissertacao-rosana-biondillo.pdf: 781686 bytes, checksum: 01ba1b8c79672ed37d4c137f821dd204 (MD5) Previous issue date: 2014-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como objeto de estudo o flâneur no pensamento de Walter Benjamin. Nos concentraremos especialmente no seu modelo de existência que atesta a crise da experiência na modernidade – modelo este caracterizado tanto pelo declínio da experiência tradicional (Erfahrung) como pelo surgimento da vivência do choque (Chockerlebnis). Em consequência dessa crise, o flâneur tornase o retrato do intelectual/artista que precisa refletir sobre sua própria situação histórica para que possa compreender e tentar redefinir seu papel e sua atuação sociais sob pena de sucumbir às demandas do mercado no cenário capitalista pósRevolução Industrial, marcado pelos meios de produção e por mudanças na percepção humana com o avanço da técnica e da urbanização no século XIX e início do XX. Como um tipo que vive no limiar (Schwelle) entre o passado histórico – representado pelo tempo da tradição e da transmissão de experiências coletivas duradouras e compartilháveis – e o presente – representado pela vivência do choque, que marca o tempo moderno da imediatez, da repetição, da reprodução incessante e do consumo que transforma todas as coisas em mercadorias – Benjamin apresenta o flâneur como aquele que ainda dispõe de fragmentos da verdadeira experiência histórica e, por reconhecer a distância que o afasta dessa experiência, ele representa a busca por uma consciência histórica atual. / The aim of this research is the flâneur in Walter Benjamin's thought. We will look specially upon his model of existence which testifies modernity's experience crisis characterized by the decline of the traditional experience (Erfahrung) as well as the arising of chock experience (Chockerlebnis). In the account of this crisis, the flâneur becomes the portrait of the intellectual/artist who needs to rethink upon his own historical position in order to comprehend and remodel his role as well as social behavior, otherwise he may fall into the market demands in a capitalistic postIndustrial Revolution scenario, labelled by the means of production and by the changes in human perception derived from technical advancement and reurbanization in the nineteenth century and beginning of the twentieth. As a type living in between historical past – represented by time of tradition and transmission of long lasting and sharing collective experiences – and present – represented by shock experience which conceives modern time as immediacy, repetition, uninterrupted reproduction, and consumption which transforms everything into commodities – Benjamin presents the flâneur as the one who still disposes of fragments of real historical experience, and that by recognizing the distance which sets him apart from this same experience, he represents the quest for real historical conciousness.

Aux lendemains de la Première Guerre, le bouleversement est social, politique et culturel. Cela se traduit, chez Walter Benjamin, par une pensée de l'appauvrissement de l’expérience. La pensée rationnelle, elle-même, est dans l'impasse. Au regard de la situation, comment dire un monde qui disparaît et celui qui reste ? Nous sommes, avec Benjamin, en présence d'une radicalité qui ne cède rien à la désespérance. Le messianisme est rejoué, à contre-courant du capitalisme et du fascisme qui édictent un sens de l'avenir. C'est une réflexion au gué du temps, qui se tient entre le temps venu d'un changement nécessaire, politique et intellectuel, et le temps où l'on peut dire qu'un changement a eu lieu. Ainsi, à partir de l'appauvrissement de l’expérience, c'est la question des rapports entre théorie et pratique qui est reposée. Il s'agit de penser, et de penser le politique autrement, en faisant intervenir le théologique. Or, le sauvetage de l’expérience demande de retrouver l'étincelle toujours recommencée de la transmission, que nous proposons de dire : être dans l'intelligence de l'autre. / Just after the First World War, political, social and cultural disruptions are in the forefront. In this situation, Walter Benjamin is led to a reflection on the impoverishment of experience. Even rationality has reached deadlock. How to seize by words the world that has disappeared and the one that remains ? With Benjamin, one is confronted with a radicality which concedes nothing to despair. Messianism is reenacted against capitalism and fascism, which both firmly set the direction of the future. One is faced with a‛time-fording’ thought, halfway between the time of an upcoming – both political and intellectual – necessary change, and the time of a new regime of thought. Thus, from the impoverishment of experience arises anew the question of theory and practice. The stake is to think, to think politics in another way, which involves theology. The salvation of experience, nevertheless, demands to revive the ever-rekindling spark of transmission, that is : being in understanding with the other.

O presente trabalho visa investigar os conceitos de crítica e experiência na obra de Walter Benjamin em torno dos anos de 1920, como resultado dos desdobramentos do Programa de 1918, de modo a pôr em relevo seu entrelaçamento com os conceitos de mito e Iluminismo. Para tanto, este trabalho concentra-se no estudo da dissertação de doutoramento do filósofo acerca do romantismo de Iena, bem como seu ensaio crítico sobre As afinidades eletivas de Goethe. Quanto ao primeiro, mostra-se que o conceito de crítica imanente une-se às perspectivas da filosofia e poesia românticas, o que se deve, em especial, ao messianismo presente veladamente no conceito de reflexão. No segundo, tem-se em vista o problema da crítica e da experiência em nova chave, cujos desdobramentos assinalam as relações entre mito e Iluminismo, o que também inclui uma crítica ao eterno retorno, a concepção mítica do tempo. / The present paper aims to investigate the concepts of critique and experience in the work of Walter Benjamin written in the years around 1920, which was derived from On the program of the coming philosophy written in 1918 and thus to highlight their intertwined relationship with the concepts of myth and Enlightenment. To do so, this paper focuses on Benjamin\'s doctorate thesis, The concept of art criticism in German romanticism, as well as on his critical essay on Goethes Elective Affinities. Regarding the first one, we show that the concept of immanent critique joins the perspectives of romantic philosophy and poetics, which is particularly due to the hidden presence of messianism in the concept of reflection. In the second one, we focus on the problem of critique and experience in a new formulation, whose developments show the relations between myth and Enlightenment, which also includes a critique of the eternal return, the mythical concept of time.

Made available in DSpace on 2014-07-29T16:17:37Z (GMT). No. of bitstreams: 1 MANOEL GUSTAVO DE SOUZA NETO.pdf: 4074909 bytes, checksum: 1e23ed2790bedb7668d8933b96ab6c28 (MD5) Previous issue date: 2008-12-03 / The present study goes through the main texts written by Walter Benjamin between the years of 19 13 and 19 18. The intention is to identify the primary form of some elements that would be the base for the Benjaminian History Theory through the years. However, this study is not more than a first step in this direction. The objective is to list the main concepts of his early writings not to give it a final form, but to create a panoramic view of the ideas configuration in which they were formed. The text is composed of two parts. In the first one we try to present the History Theory and the Culture Criticism as inseparable. This dependence would be done through the idea of interruption that crosses, explicitly or implicitly, a11 Benjamin's writing of that period connecting the reflections about Politics and History to the ones about the different ways of the time and culture representation. In the second part we deal with the relations between time and language, mainly between language, experience and theory of knowledge, using three small Benjamin's texts. The expectation is that, in the end, we have produced a route that offers the reader an image of the History Theory that Benjamin projected in the early years of his philosophical and literary activit y. / O presente estudo percorre os principais textos escritos por Walter Benjamin entre 1913 e 1918. A intenção é identificar a forma primária de alguns dos elementos que seriam capitais para a teoria benjaminiana da história ao longo dos anos. O estudo, porém, não é mais que um primeiro passo nessa direção. Trata-se de inventariar os principais conceitos dos primeiros escritos não para conferir a eles uma forma acabada, mas para traçar um panorama da configuração de idéias na qual se formavam. O texto é composto de duas partes. Na primeira busca-se apresentar a teoria da história e a crítica da cultura do jovem Benjamin como indissociáveis. Essa dependência mútua se daria através da idéia de interrupção, que percorre explícita ou implicitamente todos os escritos de Benjamin à época, conectando as reflexões sobre a política e a história, àquelas sobre as formas de representação do tempo e da cultura. Na segunda parte abordamos, a partir de três pequenos textos de Benjamin, as relações entre tempo e linguagem e, principalmente, entre linguagem, experiência e teoria do conhecimento. A esperança é que, ao final, tenhamos produzido um itinerário que proporcione o leitor uma imagem da teoria da história que Benjamin projetava nos primeiros anos de sua atividade filosófica e literária.

Chris Marker, (1921-2012) qui photographie et filme des lieux divers dans le monde entier, avait pour thème de prédilection la ville. En effet, ce lieu de circulation et de mobilité, dépassant toutes les clôtures, se prête particulièrement aux œuvres markériennes, caractérisées par l’entrecroisement de différents espace-temps, et par l’expérience de l’altérité. En étant à la fois cinéaste et voyageur, les images de la ville capturées par Marker se caractérisent par le déplacement, en particulier par l’expérience de la flânerie, qui constitue un élément essentiel de la réflexion philosophique sur la ville moderne de Walter Benjamin (1892-1940). Pour cette raison, cette thèse est consacrée à l’analyse des œuvres de Marker autour du thème de la flânerie. Ainsi, au cours de trois parties, nous travaillerons des concepts reliées à la flânerie : le seuil, l’allégorie, et le chiffonnier. Ces travaux thématiques nous aideront à comprendre la stratification complexe de l’espace-temps, le caractère transitoire, et l’art de l’assemblage dans les images markériennes. Ces recherches sont finalement élargies à la notion de la navigation comme version renouvelée de flânerie, pour analyser l’espace de L’Ouvroir, le monde virtuel crée sur Second Life par Marker dans sa dernière période. Par conséquence, à la lumière des problématiques abordées par la flânerie, on comprend que la création artistique de Marker est fondée sur la quête continuelle de nouvelles expérience visuelles qui remettent en question la modernité et la représentation cinématographique. / Chris Marker (1921-2012) is a filmmaker, who took photos and filmed various places by travelling all over the world. The city had been one of the important subjects for Marker’s works. Suppose every metropolis is essentially a limitless place, filled with flow and mobility, Marker’s works, described as intersection of different time and space and “otherness,” can be said that they inherit the nature of metropolis. Being filmmaker and traveler, Marker’s images of city are often characterized by “moving”, particularly by the experience of flânerie (stroll), which constitutes element of philosophical reflection of modern city by Walter Benjamin (1892-1940). In order to make this point clear, this dissertation deals with the films of Marker using Benjamin’s concept flânerie, as a major analyzing concept. Using four key concepts, threshold, allegory, and rag-and-bone man related to the experience of flânerie, this dissertation dissects the complex stratification of “space-time”, the “ephemeral character”, and the “art of collecting” in the images of Marker. Also, bringing the new concept “navigation”, as a renewed version of flânerie, the space of L’Ouvroir, the territorialities of Second Life, created in Marker’s last years of his life is analyzed. As a result, in the light of the issues raised by flânerie, we understand that Chris Marker problematizes the modernity and the system of cinematic representation based on the continual search for new visual experience.

Le travail artistique ne se construit pas sur une question préalable mais sur l’émergence toujours renouvelée de questions imprévisibles.L’oeuvre d’art à l’époque de sa discrétion technique tire bien évidemment son titre du texte de Walter Benjamin L’oeuvre d’art à l’époque de sa reproductibilité technique. Dans son texte, Benjamin essaie d’envisager les conséquences esthétiques et politiques de la reproductibilité technique. Nous essayons (modestement) de reposer la même question à l’heure du numérique.Cette question n’était pas donnée d’emblée. Elle est apparue dans le tressage complexe de la pratique. Dans ce tressage de problématiques apportées par la pratique elle-même, deux temps sont aujourd’hui visibles :- le temps de la reproductibilité technique, du livre d’artiste et du don ;- le temps de la discrétion, du numérique et de la disponibilité.Ces questions sont apparues de proche en proche et jamais selon un plan préétabli. Le travail d’analyse, n’est donc pas la recherche d’une stratégie ou d’un plan préexistant mais le relevé a posteriori d’un territoire découvert par une marche dans un pays inconnu.Ce tressage continu de la pratique et de la théorie est présent dans l’écriture même de la thèse. S’y mêlent à égalité des oeuvres plastiques, des textes littéraires, des articles, des manifestes et des écrits théoriques. / Artistic work is not built on a previous question but always renewed by the emergence of unforeseen issues.The Work of Art in the Age of Technical Discretion obviously takes its title from the text of Walter Benjamin The Work of Art in the Age of Mechanical Reproduction. In his text, Benjamin tries to consider the aesthetic and political consequences of technical reproducibility. We try (modestly) to ask the same question in the digital age.This question was not immediately given. It appeared in the complex braiding practice. In this weaving problems introduced by the practice itself, two times are now visible:- Time of technical reproducibility, artist’s book and gift;- The time of discretion, digital and availability.These questions have arisen step by step and not according to a predetermined plan. The analytical work, therefore, is not looking for a pre-existing strategy or plan, but the survey retrospectively territory discovered by a walk in an unknown country.This continuous braiding of practice and theory is in the writing of the thesis too. Mingle with equal plastic works, literary texts, articles, manifestos and theoretical writings.

Walter Benjamin a fait du « boîtier » et de la « maison de rêve » les « mode[s] d’existence du XIXe siècle ». En suivant ses pas, ce travail se propose d’explorer l’architecture moderne et contemporaine afin d’identifier ce qui pourrait manifester, non pas l’arbitraire des architectes, mais « une constellation historique objective » et constituer ce qu’il appelle une « preuve dans la vérité de l’action actuelle ».Selon lui, ce sont les architectes modernes qui ont inauguré la sortie du « boîtier » et, avec leur « goût pour la porosité, la transparence, la pleine lumière et l’air libre, […] mis fin à la façon ancienne d’habiter. » Pourtant, force est de constater que l’essentiel de leurs réalisations était moins l’expression d’une sortie ou d’un réveil, que de ce qu’il décrit comme une « fausse délivrance ». Celle-ci a néanmoins déclenché un nouveau rêve qu’il n’a eu de cesse d’interpréter en décrivant façades et seuils auxquels, depuis plus de vingt ans, les architectes cherchent à donner forme. Mouvantes et singulières, ces nouvelles façades nous obligent à aborder sous un jour nouveau la technique du mur-rideau. A la différence de la façade fondée classique et de la « façade libre » des modernes, cette façade suspendue défie les lois de la statique ordinaire et les oppositions binaires. Pur produit de la révolution industrielle, elle s’avère être à présent la substance qui fait exploser la mentalité qui en était à l’origine car elle abolit, plus qu’elle ne la reconfigure, l’opposition – c’est-à-dire la hiérarchie – entre dedans et dehors, privé et public, structure et ornement et, par extension, proche et lointain, infrastructure et superstructure, sujet et objet. / Walter Benjamin developed the « shell » and the « dream house » as the « condition[s] of nineteenth-century existence. » Following in his footsteps, this work aims to explore modern and contemporary architecture in order to identify what could be « an objective historical constellation » instead of the arbitrariness of architects and constitute what he calls « evidence in the truth of the actual action ».According to him, modernist architects have launched the exit of the « shell » and, with their taste for « porosity and transparency, [their] tendency toward the well-lit and airy, ha[ve] put an end to dwelling in the old sense. » However, we have to admit that the majority of their buildings was less the expression of an exit or an awakening than what he describes as a « false liberation ». The latter has nonetheless triggered a new dream he has never ceased to interpret when describing façades or thresholds, which architects have aimed to give shape for the last twenty years.Both moving and unique, these new façades compel us to view the curtain wall technique in a new light. Contrasting with the classic founded façade and the modern free façade, this suspended façade defies the laws of ordinary statics as well as binary oppositions. Emerging from the industrial revolution, it has now become the substance which blows up its original mindset as it abolishes, more than it redefines it, the opposition – meaning the hierarchy – between inside and outside, private and public, structure and ornament and, by extension, close and distant, infrastructure and superstructure, subject and object.

[pt] A palavra grega logos é fundamental no desenvolvimento do pensamento ocidental. Através do logos, da palavra, Deus cria o mundo nas tradições religiosas judaico-cristãs. Dentro da filosofia moderna ocidental, o logos é entendido principalmente no sentido da razão e da racionalidade. A presente pesquisa apresenta a hipótese de que o pensamento de Walter Benjamin interpreta o logos como linguagem, unificando campos que, de outra forma, estariam cindidos no pensamento. A interpretação do teórico alemão permite, aqui se defende, transformar as bases da filosofia ocidental pela ressignificação de temas reprimidos, tais como o mito, a arte e a história. A linguagem se mostra nessa interpretação estruturante da própria realidade. A essência das coisas é de natureza linguística; cabe ao homem traduzir e interpretar o mundo. Essa reflexão retoma a noção pré-moderna de leitura do mundo, suplantada pela ascensão da análise matemática das coisas, posta em cena pela revolução científica. A retomada da centralidade da linguagem propicia, em suma, o desenvolvimento de uma concepção alternativa dos conceitos de verdade e de experiência. Pois os conceitos não se fundamentam mais em valores eternos e universais, mas inseridos de modo pleno na precariedade da história e da linguagem humana. É o que este trabalho se ocupa de trazer à luz. / [en] The Greek word logos was fundamental for the development of Western thinking. Through logos, the word, God created the world in Judeo-Christian religious traditions. However, in Western modern philosophy, logos is understood mainly as reason and rationality. This study hypothesizes that Walter Benjamin s thinking interprets logos as language, thus unifying fields that would otherwise be divided. The interpretation of the German theoretician allows — as this study argues — for a change at the basis of western philosophy by giving new meaning to repressed themes such as myth, art and history. Language is a structuring interpretation of reality. The essence of things is linguistic: people translate and interpret the world. This brings back the pre-modern idea of reading the world, which was replaced by mathematical analyses, put forth by the scientific revolution. The recovery of the centrality of language allows, in sum, for alternative ideas regarding truth and experience to emerge. The two ideas are no longer based on eternal, universal values, but fully a part of the precariousness of history and human language. This is what this study aims at bringing to light.