Esta pesquisa tem como objetivo central ampliar os saberes sobre a animalidade, implicando outras relações de alteridade na educação, a partir da emergência de uma noção de poéticas da animalidade, movimentada pela criação de um diálogo entre as provocações ético-estéticas de certas obras das artistas visuais Ana Teresa Barboza e Nara Amelia e das escritoras Clarice Lispector, Veronica Stigger e Noemi Jaffe. Para tanto, a pesquisa estabelece três movimentos, sempre permeados pelas obras escolhidas, que nos provocam a olhar nosso objeto de outros modos. O primeiro movimento consiste em uma apresentação do recente campo de estudos da animalidade, em que se inserem os teóricos, escritoras e artistas parceiros desta investigação. No segundo movimento, a partir de um diálogo entre literatura e artes visuais, percorremos algumas construções filosóficas e históricas que aparentemente nos fizeram temer e negar nossa animalidade, como também buscamos outras visões que multiplicam o que entendemos por animalidade e suas relações com outras formas de alteridade, a partir do pensamento de Eduardo Viveiros de Castro e de Jacques Derrida. O terceiro movimento se estabelece a partir de uma criação poética da animalidade, no diálogo entre determinadas obras das artistas visuais e escritoras escolhidas. Assim, cria-se uma condição de possibilidade para a emergência do conceito de poéticas da animalidade enquanto potências que nos provocam, desestabilizam, educam mediante outras racionalidades. Esse conceito será movimentado a partir de uma noção de experiências de animalidade, experiências de alteridade, em algumas memórias da animalidade que habita a escola, bem como da presença real dos animais nesse espaço, com a contribuição do pensamento de Carlos Skliar. Esses exercícios, entrelaçados ao conceito de poéticas da animalidade, são entendidos como operações pedagógicas de resistência, criação poética e estética na escola, que buscam outras formas de pensar nossa animalidade e a convivência com os outros enquanto alteridades radicais, independentemente de sua forma, gênero, espécie e raça, provocando-nos a usar de outros modos a razão, a linguagem e nossa sensibilidade. Por fim, sugere-se que, para essas operações acontecerem na escola, é necessário pensarmos num outro tempo escolar: um tempo de animalidade na escola, um tempo de sentir e permitir-se ser outros, um tempo que suspende nossas certezas demasiadamente humanas de um saber puramente racional que não deu conta dos problemas que temos enfrentado na escola, na vida e no mundo, um tempo que nos leva a pensar na possibilidade de uma formação ―humana‖ pela animalidade. / This research aims mainly at broadening the knowledge on animality, implying other relations of alterity in education, starting from the emergence of a notion of the animality poetics, triggered by the creation of dialog between the ethical-aesthetical provocation in certain works from visual arts artists Ana Teresa Barboza and Nara Amelia, as well as in writers Clarice Lispector‘s, Veronica Stigger‘s, and Noemi Jaffe‘s works. For this purpose, three moves are established in the research, always permeated by the selected works, which lead us to look at our subject from a different perspective. The first move consists in a presentation of the recent field of studies of animality, which includes the theorists, writers, and partner artists of this investigation. In the second move, beginning from a dialog between literature and visual arts, we range over some philosophical and historical constructions, which, apparently, have made us fear and deny our animality. Likewise, we search for other views that multiply what we understand as animality and its relations with other forms of alterity, according to Eduardo Viveiros‘ and Jacques Derridas‘ way of thinking. The third move is based on a poetic creation of animality in the dialog among some specific works from the chosen visual arts artists and writers. Thus, a Condition of Possibility is created for the emergence of the concept of animality poetics as powers that provoke, destabilize, and educate us, in face of other rationale. This concept will be moved starting from a perception of experiences with animality and alterity, in some animality memories that inhabit the school, as well as the real presence of the animals in that area, according to Carlos Skliar‘s way of thinking. These exercises, interwoven with the concept of animality poetics, are acknowledged as pedagogical operations of resistance, poetic and aesthetic creation in the school, which seek other ways of thinking in relation to our animality and the interaction with others as radical alterity, apart from their shape, gender, species, and race, provoking us to use reasoning, language, as well as our sensibility, in different ways. Finally, for such operations to take place in the school, we need to think about another school time; a time with animality in the school, a time to feel and allow ourselves to be the others, a time that lays off our excessively human certainties from a purely rational knowledge, which has not taken control over the matters we have faced in school, in life, and in the world as well, a time that leads us to think of the possibility of a ―human‖ formation through the animality.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-04-27T12:23:46Z No. of bitstreams: 1 SARA CRISTINA PAGOTTO.pdf: 3012562 bytes, checksum: 86271ca2ba08a7d51b53eb74480f4a3e (MD5) / Made available in DSpace on 2017-04-27T12:23:46Z (GMT). No. of bitstreams: 1 SARA CRISTINA PAGOTTO.pdf: 3012562 bytes, checksum: 86271ca2ba08a7d51b53eb74480f4a3e (MD5) Previous issue date: 2017-03-09 / This dissertation aims to analyze the animality and the metamorphoses in the work the corners of Maldoror of Lautréamont, which manifests itself through a surreal and bestiary also present transgressive literature as language event, which runs through violently in the six corners of this poetry incandescent. To conduct this research, the theoretical basis will be Gaston Bachelard, that, in his book Lautréamont (2013), indicates the energy complex and vital, the time devourer and the poetry of aggression present in the corners, foundations that sediment and illuminate the inquiries of animalism, metamorphosis and primitive. On principles, inherent to the status of life and language, fundamental concepts to dialogue with the work lautreamontiana, support us in As palavras e as coisas and Ditos e escritos III (Prefácio à Transgressão) of Michel Foucault (2007, 2015). In addition, you will need the theoretical foundations of the work O Corpo Impossível (2012) of Eliane Robert Moraes, to correlate the construct of desanthropomorphism in the surreal bestiary of Maldoror. / Esta dissertação tem como objetivos, analisar a animalidade, as metamorfoses e a construção da poesia ardente, na obra Os Cantos de Maldoror de Lautréamont, que se manifesta através de um bestiário surreal. Também é imprescindível apresentar a literatura transgressiva enquanto acontecimento da linguagem, que percorre violentamente os seis cantos desta poesia incandescente. Para conduzir esta investigação, a base teórica será Gaston Bachelard, que em seu livro Lautréamont (2013) indica o complexo energético e vital, o tempo devorador e a poesia de agressão presente nos Cantos, alicerces que sedimentam e iluminam as indagações da animalidade, metamorfose e primitividade. Sobre princípios inerentes ao estatuto da vida e da linguagem, conceitos fundamentais para dialogar com a obra lautreamontiana, nos apoiaremos no livro As palavras e as coisas e Ditos e escritos III (Prefácio à Transgressão) de Michel Foucault (2007, 2015). Serão também necessários os fundamentos teóricos da obra O Corpo Impossível (2012) de Eliane Robert Moraes, para correlacionar ao construto da desantropormofização do bestiário surreal de Maldoror.

Bears and wolves are large mammalian predators who fill similar biological niches and have acquired similar cultural significance throughout Western history. Although superficial similarities exist between them in Charles G. D. Roberts's short animal stories, Roberts uses anthropomorphism to differentiate between these two species. This thesis uses a historical-cultural approach to provide the context for determining what was known or believed about these animals during Roberts's life and what contemporaneous theories were likely to have influenced Roberts's writing. The present literary analysis of bears and wolves in Roberts's stories shows that the species are primarily differentiated through the degree of anthropomorphism attributed to their individual members. Roberts anthropomorphizes bears more than his other species, and this contributes to the bears representation of the positive potential of animality. By contrast, Roberts minimizes anthropomorphization of wolves, who represent the negative potential of animality. In Roberts's work, humans who live in the wilderness must become either bear-like or wolf-like. Those who embrace bears positive animal potential are those who belong in the natural world, while those who practice the wolves' negative animal potential are denied a place in the natural order. Humans ultimately prove themselves to be superior animals through their use of technology, but must also demonstrate positive qualities, such as morality, in order to show that they belong in nature. Roberts's binary of animality speaks to a conflict that continues today, between the desire to accept the animality that is part of human nature and simultaneously to deny the baser aspects of that animality.

Bears and wolves are large mammalian predators who fill similar biological niches and have acquired similar cultural significance throughout Western history. Although superficial similarities exist between them in Charles G. D. Roberts's short animal stories, Roberts uses anthropomorphism to differentiate between these two species. This thesis uses a historical-cultural approach to provide the context for determining what was known or believed about these animals during Roberts's life and what contemporaneous theories were likely to have influenced Roberts's writing. The present literary analysis of bears and wolves in Roberts's stories shows that the species are primarily differentiated through the degree of anthropomorphism attributed to their individual members. Roberts anthropomorphizes bears more than his other species, and this contributes to the bears representation of the positive potential of animality. By contrast, Roberts minimizes anthropomorphization of wolves, who represent the negative potential of animality. In Roberts's work, humans who live in the wilderness must become either bear-like or wolf-like. Those who embrace bears positive animal potential are those who belong in the natural world, while those who practice the wolves' negative animal potential are denied a place in the natural order. Humans ultimately prove themselves to be superior animals through their use of technology, but must also demonstrate positive qualities, such as morality, in order to show that they belong in nature. Roberts's binary of animality speaks to a conflict that continues today, between the desire to accept the animality that is part of human nature and simultaneously to deny the baser aspects of that animality.

Loren Eiseley (1907-1977) a été connu tour à tour comme archéologue, anthropologue, éducateur, philosophe, poète ou bien encore auteur d’études en sciences naturelles. Il remet en cause les thèses sur la science, la nature et l’homme qui avaient cours à son époque. Il unit les sciences et les humanités au travers de sa prose et de ses poèmes, anticipant le concept actuel d’humanités environnmentales. En tant qu’archéologue, il utilise la science, l’imagination et l’observation tels des outils dans le but de reconstruire le passé. Il a mis au point de nouveaux angles de vue permettant d’appréhender l’univers et la place de l’homo sapiens en son sein. Il pense que l’homme moderne s’est dénaturé en devenant le destructeur de la planète et, de ce fait, anticipe le point de vue éco-centrique qui s’est imposé dans la période qui a fait suite à la révolution industrielle, période de plus en plus désignée comme l’anthropocène. Les écrits de Eiseley pressent l’humanité de renouer avec notre passé animal de façon à respecter l’ordre naturel dont nous sommes issus. Son œuvre force le lecteur à participer à son projet de rénovation de notre univers mental et culturel. / Loren Eiseley (1907-1977) has been variously described as archaeologist, anthropologist, educator, philosopher, poet, and natural science writer. He challenges the views of science, nature, and man that were current at the time he wrote. He brings science and the humanities together by expressing his ecological, philosophical and metaphysical ideas in both prose and poems, anticipating the concept of environmental humanities nowadays. He is an archeologist who uses the tools of science, imagination and observation to reconstruct the past. Eiseley finds new angles from which to view the universe and homo sapiens’ place within it. He argues that modern man has fallen out of nature and become a planet destroyer. He anticipates the eco-centric position that is becoming necessary in the era following the Industrial Revolution that is increasingly being recognized as the Anthropocene. Eiseley’s writings urge that humanity reconnect with our animal past in order to respect the natural world from which we came. In bridging the nature and culture divide, his work forces readers to participate in the project of re-examining our own mental and cultural world.

This article presents a transit from the establishment of the non-adequacy of theoretical knowledge in Levinas’ philosophy towards Derrida’s proposal, according to which the relation with alterity is animal and not human. It also analyses the way in which the theoretical attitude brings a primacy of the subject and a “reduction of the other to sameness”, and also how the deconstruction of subjectivity enables a non-theoretical relationship with alterity. From this, it considers that alterity, described by Levinas as “human”, appears to consciousness as fundamentally sensible. Finally, it discusses Derrida’s critique to Levinas, concerning a possible exclusion inherent to the concept of the “human”, and suggests considering animality as a common substrate to all alterity, proposal that goes beyond Levinas’ humanism. / Este artículo presenta un tránsito desde la constatación de la inadecuación del conocimiento teórico en la filosofía de Levinas hacia la propuesta de Derrida según la cual la relación con la alteridad es animal y no humana. Además, se analiza la manera en que la actitud teórica trae consigo un primado del sujeto y una “reducción de lo otro a lo mismo”, y cómo la deconstrucción de la subjetividad hace posible una relación no-teórica con la alteridad. A partir de esto, se considera que la alteridad, descrita por Levinas como “humana”, se presenta ante la conciencia como fundamentalmente sensible. Finalmente, discute la crítica de Derrida a Levinas acerca de una posible exclusión inherente al concepto de lo “humano” y propone pensar la animalidad como sustrato común a toda alteridad, propuesta que supera el humanismo levinasiano.

Submitted by Leonardo Lima (leonardoperlim@gmail.com) on 2016-04-25T18:11:49Z No. of bitstreams: 2 Por dez vacas com cria eu não troco meu cachorro.pdf: 2081276 bytes, checksum: caffd1460f3a4f1b512063e48183c05a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-06T20:58:32Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Por dez vacas com cria eu não troco meu cachorro.pdf: 2081276 bytes, checksum: caffd1460f3a4f1b512063e48183c05a (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-06T21:02:02Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Por dez vacas com cria eu não troco meu cachorro.pdf: 2081276 bytes, checksum: caffd1460f3a4f1b512063e48183c05a (MD5) / Made available in DSpace on 2016-06-06T21:02:09Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Por dez vacas com cria eu não troco meu cachorro.pdf: 2081276 bytes, checksum: caffd1460f3a4f1b512063e48183c05a (MD5) Previous issue date: 2015-05-26 / Sem bolsa / Este trabalho busca contemplar as relações entre seres humanos e cães a partir do panorama de pecuária, notadamente a familiar, na Metade Sul do Rio Grande do Sul, com foco no município de Piratini. Analiso o emprego de cães de pastoreio no manejo de gado bovino e ovino e a visão das pessoas sobre o auxílio prestado por esses animais. O cão aparece como um campeiro e há todo um conjunto de expectativas e entendimentos em torno do considerado desejável para este companheiro de trabalho. Como desdobramento, o presente texto acompanha o processo de consolidação racial de um tipo de cão comum da região, conhecido por Ovelheiro Gaúcho. Tento observar como as atividades de cinofilia em torno da raça adquirem o caráter de ativismo cultural, a partir da visão dos interlocutores sobre tradição e resgate cultural. / This paper aims to contemplate the relationship between humans and dogs from livestock panorama, notably the family one, in the southern part of Rio Grande do Sul, focused in the city of Piratini. I analyze the use of herding dogs on cattle and sheep handling and the vision of the people about the aid provided by these animals. The dog appears as a rural worker and there is a whole set of expectations and understandings around the considered desirable for him. As an outcome, this text describes the consolidation of a common type of breed dog in the region, known as Ovelheiro Gaucho. I try to observe how a dog-breeding activity acquires a cultural activism character, from a view of the interlocutors about their tradition and cultural revival.

La notion d’animalité est au cœur des préoccupations du siècle des Lumières comme de l’œuvre de Sade, qui la place au centre de son entreprise de déstabilisation des valeurs et de son système scandaleux. Avec lui, l’animal apparaît pour ce qu’il est véritablement au plan philosophique : un merveilleux dynamiteur de certitudes propre à ébranler tous les systèmes trop rigides ; une bombe à retardement éthique susceptible de ruiner toute morale et d’autoriser tous les crimes ; un dangereux laboratoire intellectuel où se théorise et s’expérimente toute grande déshumanisation à venir. Héritier du matérialisme philosophique de son temps, Sade refuse en effet de voir en l’Homme autre chose qu’un banal agencement d’atomes, qu’une très ingénieuse mécanique, et fait ainsi de lui un simple animal parmi d’autres ; mais, à la différence de ses maîtres à penser, lui entend bien tirer toutes les conséquences morales d’une telle destitution métaphysique. Greffant à cette rentrée dans le rang ontologique toute l’infamie de l’ancienne conception de l’animal, qui voyait en ce dernier sur le plan moral un inquiétant concentré de tous les vices et de toutes les licences, l’écrivain en vient à proposer la synthèse aberrante des aspirations et des craintes de son époque. Prenant la posture d’un Rousseau gagné au crime, il imagine une entreprise de renaturation pour le pire de l’espèce humaine, où l’Homme vient se faire loup pour l’Homme avec l’appui de la logique et la bénédiction de la raison. Programme de retour résolu à l’animalité qu’il ne parvient toutefois pas toujours à tenir, l’animal se révélant pour lui aussi un terrain philosophique piégeux. / Animality is one of the most topical questions for the thinkers of the Enlightenment. The nature of the soul and the criterion of men’s specificity, the origin of knowledge and the functioning of the body, the classification of species and the animal’s rights are all at the heart of debates and reflections of the time. And so they are in the marquis de Sade’s works, whose ambition to destabilize the humanistic values finds with this question a very convenient philosophical instrument. With Sade, the animal appears in fact what he is as far as philosophy is concerned: a powerful weapon for skeptical thinkers, a metaphysical bomb able to blow away all ethics, an operative concept to work out the next enslavements to come. Inspired by the French materialist thinkers, Sade considers Man as an animal amongst others and views human beings as mere assembling of atoms and efficient machineries; but contrary to them, he tries to draw the conclusions of such a statement and tends to make him a brute. Playing the part of some sort of criminal Rousseau eager to push mankind into violence and depravation, he rationally advocates a frightening return to the most primitive bestiality and calls for a general step back to the times when Man was still a wolf for Man. A program that however he isn’t always able to stick to, animal turning out to be a very tricky philosophical ground even for him.

Étude la pensée de Heidegger autour de la thématique du sol ou raison et de son rapport ou identité avec l'animalité, singulièrement pour ce qui touche à la question de l'achèvement de la métaphysique / Investigating into the thought of Heidegger about the thematic of earth and its relationships with animality, particulary concerning the question of metaphysical consummation

Denna vetenskapliga essä utforskar begreppet animalitet som en aspekt av det levande som människan delar med andra djur. Essän tar sin utgångspunkt i en protest mot hur människan som djur begränsas inom yrkeslivet. Genom att belysa hur människans traditionella förhållande till andra djur bidragit till ett förnekande av den egna animaliteten, prövar essän en tanke om övertro på mänsklig förmåga och vilka konsekvenser den kan få för den yrkesutövande. Med stöd av posthumanistiska teorier och metoden diffraktion utvecklas begreppet animalitet, vars framträdande mening tolkas ”på andra sidan” om; liv, död, professionalitet, idéhistoria, hundar, djur-etik samt författarens egna gestaltningar och insikter av yrkesutövning inom handledning och utbildning. Avslutningsvis görs en kritisk analys av digitala utbildningars avsaknad av mänsklig kroppslighet. Essäns samlade undersökningar visar en etisk och animalistisk yrkesutövning som behövs för att kunna använda specifika kroppsliga förmågor i syfte att skapa förståelse och trygghet inom fenomenet utbildning. / This scientific essay explores the concept of animality as an aspect of the living that humans share with other animals. The essay takes its point of departure in a protest against how man as an animal is limited in professional life. By highlighting how man's traditional relationship with other animals contributed to a denial of his own animality, the essay tests a thought about over-reliance in human ability and what consequences it can have for the professional. With the support of posthumanist theories and the diffraction method, the concept of animality is developed, whose prominent meaning is interpreted "on the other side" of; life, death, professionalism, history of ideas, dogs, animal ethics as well as the author's own portrayals and insights of professional practice in supervision and education. In conclusion, a critical analysis is made of digital education's lack of human physicality. The essay's collected investigations show an ethical and animalistic professional practice that is needed to be able to use specific bodily abilities in order to create understanding and security within the phenomenon of education.