Architectural tectonics and the relationship of structural expression to ornament has been one of the oldest and most consistent themes in western architectural theory. For instance, the discussions of architectonics can be seen in the foundational literature from the Classical period, is present in Neo-classical architectural styles, in debates associated with modernist architecture, and in the latest digital interpretations of architecture. Tectonics and the idea that architecture ought to draw its aesthetic effects from its structural and material composition has, as a consequence, become a normative aspect of architectural theory and practice. Yet, in many situation cultural and geographical contexts this position does not have such a normative status. This thesis examines the legacy of this theme in architectural theory and practice in the particular cultural and geographical context of Japan and Taiwan. It focuses on the colonial cultural relationship between these countries, and to the West, as well as considering the seismic conditions that govern the culture of building around the Pacific West coast – the Ring of Fire. The argument that I will propose is that although the discussion of tectonics in westernised Japan has been scanty, the attitude and strategies the Japanese adopted for designing architecture and considering the relationship between structures and architectural surfaces can be framed differently. The difference between the traditional Japanese approaches to these questions and conventional Western considerations, is, in part, related to the significance of earthquakes to Japanese culture. The two traditions are not isolated. Japan was famously quick to adopt Western technologies and knowledge in the early twentieth century. In the context of architecture and building, this relationship produced a complex hybrid architectural culture in which the Japanese developed their own construction system and their attitude to the relationship between the structures and architectural surfaces. The thesis examines a further layer to this technological and cultural hybrid by examining the relationship between Japan and its colony Taiwan. The thesis argues that Japan’s relationship to the West, and its adoption and hybridization of architectural culture is evident in a complex way through their own colonial relationship to Taiwan. Through reviewing debates on structure and ornament in architecture in the Far East, the thesis adopts the concept of skeuomorph into this theoretical frame. Locating the concept of skeuomorph in this frame and interpreting the Japanese and Taiwanese cases by this concept allows us to reconsider the normative status of architectonic principles in architectural theory, and contribute to an understanding of colonial architectural history in the East Asia.

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In this paper, I have proposed a way of interpreting the philosophical subject of the Discours de la méthode that has remained relatively unexplored by contemporary commentators. By investigating the subjectivity that is expressed through Descartes’ use of architectural metaphors, I laid bare some of the difficulties inherent in its discursive structure, as well as suggesting that the cogito in fact repeats and inscribes itself into this structure. In this context, the metaphor of the road (or travel) takes a supplementary role in relation to the architectural metaphor, marking the very conditions of existence of the architectonic subject. The subject, in order that it may establish itself as ”pure” and ”independent” thought, is dependent on a certain ”forgetfullness”; that is, only by forgetting its constitutive dependence on the diversity and historicity that is signified by the metaphor of travel, can it establish itself as its own source. A history of philosophy which takes considerations of metaphors and other literary aspects as the center of its inquiry still needs to be written. This paper can be seen as an example of such an investigation.

Cette thèse examine la phénoménologie en tant que philosophie-en-travail, en tant que projet ouvert de recherche. Sa tâche principale consiste à déterminer la façon d’accomplir le travail phénoménologique. Pour atteindre cet objectif, nous examinons les analyses de la doctrine phénoménologique de l’attitude (Partie I.), de la doctrine de la méthode (Partie II.) et de l’architectonique « flexible » (Partie III.) de la phénoménologie. Ces élaborations nous permettent de thématiser la dé-limitation de la conscience, l’enrichissement de sens et l’institution du nouveau en tant que traits caractéristiques de la manière phénoménologique d’opérer. Cette recherche exige une oscillation constante entre une systématique ouverte de la philosophie d’Edmund Husserl et des analyses phénoménologues particulières. / This dissertation examines phenomenology as working philosophy (Arbeitsphilosophie), that is, as an open research project. The main aim of the study consists in determining the mode of performance (Vollzugsweise) of the phenomenological work in progress. To achieve this goal we provide an analysis of the doctrine of attitude (Part I.), the doctrine of method (Part II.), and then the “flexible” architectonics (Part III.) of phenomenology. These elaborations enable us to thematize the de-limitation of consciousness (Entschränkung), the enrichment of sense (Sinnbereicherung) and the institution of the new as the characteristic features of the phenomenological method of operating. This research project requires a constant oscillation between an open systematization of Edmund Husserl’s philosophy and particular phenomenological analyses. / Diese Dissertationsforschung hat zwei parallellaufende Aufgaben vor sich. Die erste besteht darin, die allgemeine Form und die spezifische Vollzugsweise der phänomenologisch philoso-phischen Arbeit zu bestimmen; die zweite besteht ihrerseits darin diese Arbeit im Verlauf – auf ihrem Weg zu zeigen. Dafür hat dieser Dissertationstext zwei Einleitungen: die systematische Einleitung, die die offene Systematik (die sog. «flexible Architektonik») der phänomenologi-schen Philosophie darstellt, und die propädeutische Einleitung, die die Grundintuitionen der phä-nomenologischen Philosophie (z. B. das Unverständlichwerden des Selbstverständlichen – das philosophische Erstaunen, die Enttäuschung bei der Trugwahrnehmung etc.) formuliert. Anders gesagt, das Ziel besteht darin, das Spezifische der phänomenologischen Arbeit zu verstehen und zu vollziehen.

Nesta investigação, refletimos sobre as avaliações impressas em textos de periódicos contemporâneos tiras e crônicas , que retomam narrativas da tradição oral, em circulação entre os séculos XVII e XIX, a fim de compreender aspectos de diferentes visões de mundo e o posicionamento valorativo do sujeito-autor e do sujeito-contemplador previsto, como forma de resposta compromissada com seu tempo. Ao longo das edições dos periódicos, a tematização dessas narrativas aconteceu de forma aleatória, em meio a conteúdos diversos e como parte do repertório cultural dos artistas. Em levantamento realizado, o corpus de análise ficou composto da seguinte forma: (1) cinquenta e quatro tiras do cartunista Fernando Gonsales que, publicadas no jornal Folha de S. Paulo entre os anos de 2004 e 2011, tematizam os contos maravilhosos Chapeuzinho Vermelho, Branca de Neve e A história dos três porquinhos; (2) três crônicas de Millôr Fernandes, que circularam nas revistas semanais Veja e IstoÉ na década de 1980, tematizando os mesmos contos, o que viabiliza um trabalho comparativo. Para orientar nosso olhar, fundamentamos nossa análise na concepção bakhtiniana de arquitetônica, desenvolvida principalmente nos primeiros textos produzidos por Bakhtin e o Círculo, na década de 1920. Essa concepção nos permite compreender como os elementos do texto forma, conteúdo e material são organizados pelos centros de valores estabelecidos na relação autor-criador, herói, autor-contemplador. Associadas a essa noção, tratamos das categorias de espaço e tempo, desenvolvidas pelo pensador Bakhtin (1937-1938, 1973). Essas categorias nos instrumentalizam para a compreensão da interação entre autor-criador e/ou autor-contemplador e objeto artístico, em determinado contexto espaço-temporal. No diálogo com o objeto de pesquisa, partimos da seguinte hipótese: se todo texto é um ato responsivo ao tempo de que emerge, então a visão de mundo contemporânea é refratada em textos de humor da esfera periodística que circularam no final do século XX e início do XXI, quando esses textos retomam narrativas da tradição oral difundidas entre os séculos XVII e XIX. Ao final do trabalho, mostra-se que, no entrecruzamento das tiras de Fernando Gonsales e das crônicas de Millôr Fernandes com os contos maravilhosos, transita a paródia de um mundo idealizado: nas tiras, ela se configura também como deboche do modo de vida contemporâneo; nas crônicas, como crítica social e reflexão sobre a existência humana. / In this thesis, we reflect on the standpoints printed on contemporary journal texts - strips and chronics that retake oral tradition narratives, between the seventeenth and nineteenth centuries, in order to understand aspects of different worldviews and the evaluative positioning of the subject-author and of the expected subject-contemplator as a way to give a committed answer to their time. Along the issues of the journals, the theming of these narratives was done at random, amid diverse contents and as part of the cultural repertoire of the artists. In the survey that was conducted, the corpus was composed as follows: (1) fifty-four strips by the cartoonist Fernando Gonsales, published in the newspaper Folha de S. Paulo between 2004 and 2011, that bring as the theme the fairy tales Little Red Riding Hood, Snow White and The story of the three little pigs; (2) three chronics by Millor Fernandes, that circulated in the weekly magazines Veja and IstoÉ in the 1980s, thematising the same tales, which enables a comparative work. To guide our vision, we base our analysis on Bakhtin\'s architectonic design, developed mainly in the first texts written by Bakhtin and the Circle in the 1920s. This concept allows us to understand how the text elements - form, content and materials - are organized by centers of values established in the relation between author-creator, hero, author-contemplator. Associated with this notion, we deal with the categories of space and time, developed by Bakhtin (1937-1938, 1973). These categories lead us to the understanding of the interaction between author-creator and/or author-contemplator and artistic object, in a particular spatial-temporal context. In dialogue with the research object, we start from the following hypothesis: if all text is a responsive act to the time that it emerges from, then the contemporary world view is refracted in humor texts from the journal sphere that circulated in the late twentieth and early twenty-first centuries, when these texts resume narratives of the oral tradition spread between the seventeenth and nineteenth centuries. At the end of the work, it is shown that, in the crossing of the strips by Fernando Gonsalves and the chronics by Millor Fernandes with the fairy tales, the parody moves from an idealized world: in the strips, it also sets as a mockery of the contemporary way of life; in the chronics, as a social critique and reflection on human existence.

Submitted by Cristiane Chim (cristiane.chim@ucpel.edu.br) on 2018-07-17T20:13:45Z No. of bitstreams: 1 Marice Fiuza Geletkanicz.pdf: 4817811 bytes, checksum: 9944533163eecfbc5c6c30e34190792f (MD5) / Made available in DSpace on 2018-07-17T20:13:45Z (GMT). No. of bitstreams: 1 Marice Fiuza Geletkanicz.pdf: 4817811 bytes, checksum: 9944533163eecfbc5c6c30e34190792f (MD5) Previous issue date: 2017-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES# / #2075167498588264571# / #600 / As one knows, ―the studies by Bakhtin and the Circle constitute contributions for a theory of language in general and not only for a theory of verbal language, be it oral or written‖ (BRAIT, 2013). So, this work proposes a relation between dance as concrete acts and enunciative projects inspired by Bakhtinian architectonic foundations. The visual nature of this enunciation distinguishes it discursively and gives it an aesthetic status requiring other readings. For talking about visual architectonics, we need, as a starting point, to identify what constitutes the content, the material and the form in dance / dancing. For doing this, this study proposes an analysis of 4 choreographies of belly dance, available in video in the Internet. The work examines aspects related to the ways dancers construct their dance and, by means of social evaluations, reveal and / or denounce enunciative marks. Thus, from the notion of content, one researched how ideological / evaluative factors are implicated in the relation between dancer-creator and dancer-character such as represented in the analysed dances; from the notion of compositional form, we examine for whom dances the body of these dancers on the basis of enunciative marks used for engaging their potential addressee; from the notion of material, we examined what each performance presents as specific in significance and sense. This methodological path enables us to make visible dialogism in visual utterances, to show that distinct voices resound in belly dance is time-space, discarding thus the possibility of talking about a supposed ―belly dance‘s essence‖ inciting, consequently, the suggestion of it being, in these terms, a hybridization. This made us perceive what constitutes dialogical relations in dance and the way they happen therein, allowing us to reach the peculiarities that here interest as another possibility for understanding dance as an aesthetic object and to contribute to Bakthinian studies of visual discourse. / É fato que ―os estudos de Bakhtin e do Círculo constituem contribuições para uma teoria da linguagem em geral e não somente para uma teoria da linguagem verbal, quer oral ou escrita‖ (BRAIT, 2013). Assim, este trabalho propõe uma relação entre dança como ato concreto e projeto enunciativo inspirada pela diretriz arquitetônica bakhtiniana. A natureza visual dessa enunciação a distingue discursivamente e lhe confere seu status estético, requerendo formas outras de leitura. A fim de que se possa falar de uma arquitetônica visual, como ponto de partida, busca-se identificar o que constitui o conteúdo, o material e a forma na dança/no dançar. Para tanto, este estudo propõe a análise de quatro coreografias de dança do ventre, disponíveis em vídeo, via internet. Trata-se, pois, de enfocar aspectos relacionados ao modo como as bailarinas constroem a sua dança e, mediante valorações sociais, revelam e/ou denunciam marcas enunciativas. Portanto, a partir da noção de conteúdo, investiga-se como o aspecto ideológico/valorativo é representado pelas bailarinas-criadoras; a partir da noção de forma composicional, investiga-se para quem elas dançam com base nas marcas enunciativas visuais mobilizadas para envolver seu interlocutor presumido em dado contexto; a partir da noção de forma arquitetônica, investiga-se o que cada uma das apresentações traz como especificidades em termos de significação e sentido. Tal percurso metodológico possibilita evidenciar o dialogismo através do visual, mostrar que diferentes vozes ressoam na dança do ventre através do tempo-espaço, o que ratifica a inviabilidade de se falar de uma ―essência da dança do ventre‖, instigando, consequentemente, a reflexão acerca do que não seria, nesses termos, uma hibridação. Isso conduz à percepção a respeito do que constitui as relações dialógicas na dança e da forma como nela elas se dão, viabilizando chegar às peculiaridades que aqui interessam como uma possibilidade outra de compreender o objeto estético dança e contribuir para os estudos bakhtinianos do visual.

Nesta investigação, refletimos sobre as avaliações impressas em textos de periódicos contemporâneos tiras e crônicas , que retomam narrativas da tradição oral, em circulação entre os séculos XVII e XIX, a fim de compreender aspectos de diferentes visões de mundo e o posicionamento valorativo do sujeito-autor e do sujeito-contemplador previsto, como forma de resposta compromissada com seu tempo. Ao longo das edições dos periódicos, a tematização dessas narrativas aconteceu de forma aleatória, em meio a conteúdos diversos e como parte do repertório cultural dos artistas. Em levantamento realizado, o corpus de análise ficou composto da seguinte forma: (1) cinquenta e quatro tiras do cartunista Fernando Gonsales que, publicadas no jornal Folha de S. Paulo entre os anos de 2004 e 2011, tematizam os contos maravilhosos Chapeuzinho Vermelho, Branca de Neve e A história dos três porquinhos; (2) três crônicas de Millôr Fernandes, que circularam nas revistas semanais Veja e IstoÉ na década de 1980, tematizando os mesmos contos, o que viabiliza um trabalho comparativo. Para orientar nosso olhar, fundamentamos nossa análise na concepção bakhtiniana de arquitetônica, desenvolvida principalmente nos primeiros textos produzidos por Bakhtin e o Círculo, na década de 1920. Essa concepção nos permite compreender como os elementos do texto forma, conteúdo e material são organizados pelos centros de valores estabelecidos na relação autor-criador, herói, autor-contemplador. Associadas a essa noção, tratamos das categorias de espaço e tempo, desenvolvidas pelo pensador Bakhtin (1937-1938, 1973). Essas categorias nos instrumentalizam para a compreensão da interação entre autor-criador e/ou autor-contemplador e objeto artístico, em determinado contexto espaço-temporal. No diálogo com o objeto de pesquisa, partimos da seguinte hipótese: se todo texto é um ato responsivo ao tempo de que emerge, então a visão de mundo contemporânea é refratada em textos de humor da esfera periodística que circularam no final do século XX e início do XXI, quando esses textos retomam narrativas da tradição oral difundidas entre os séculos XVII e XIX. Ao final do trabalho, mostra-se que, no entrecruzamento das tiras de Fernando Gonsales e das crônicas de Millôr Fernandes com os contos maravilhosos, transita a paródia de um mundo idealizado: nas tiras, ela se configura também como deboche do modo de vida contemporâneo; nas crônicas, como crítica social e reflexão sobre a existência humana. / In this thesis, we reflect on the standpoints printed on contemporary journal texts - strips and chronics that retake oral tradition narratives, between the seventeenth and nineteenth centuries, in order to understand aspects of different worldviews and the evaluative positioning of the subject-author and of the expected subject-contemplator as a way to give a committed answer to their time. Along the issues of the journals, the theming of these narratives was done at random, amid diverse contents and as part of the cultural repertoire of the artists. In the survey that was conducted, the corpus was composed as follows: (1) fifty-four strips by the cartoonist Fernando Gonsales, published in the newspaper Folha de S. Paulo between 2004 and 2011, that bring as the theme the fairy tales Little Red Riding Hood, Snow White and The story of the three little pigs; (2) three chronics by Millor Fernandes, that circulated in the weekly magazines Veja and IstoÉ in the 1980s, thematising the same tales, which enables a comparative work. To guide our vision, we base our analysis on Bakhtin\'s architectonic design, developed mainly in the first texts written by Bakhtin and the Circle in the 1920s. This concept allows us to understand how the text elements - form, content and materials - are organized by centers of values established in the relation between author-creator, hero, author-contemplator. Associated with this notion, we deal with the categories of space and time, developed by Bakhtin (1937-1938, 1973). These categories lead us to the understanding of the interaction between author-creator and/or author-contemplator and artistic object, in a particular spatial-temporal context. In dialogue with the research object, we start from the following hypothesis: if all text is a responsive act to the time that it emerges from, then the contemporary world view is refracted in humor texts from the journal sphere that circulated in the late twentieth and early twenty-first centuries, when these texts resume narratives of the oral tradition spread between the seventeenth and nineteenth centuries. At the end of the work, it is shown that, in the crossing of the strips by Fernando Gonsalves and the chronics by Millor Fernandes with the fairy tales, the parody moves from an idealized world: in the strips, it also sets as a mockery of the contemporary way of life; in the chronics, as a social critique and reflection on human existence.

Cette thèse présente la pensée d’al-Fārābī, premier des grands philosophes arabes aristotéliciens, comme une philosophie systématique de la réalisation. En partant du nœud problématique de l’articulation du théorique et du pratique, il s’agit d’interroger l’unification totalisante qui caractérise l’œuvre du « Second Maître ». Notre hypothèse est que cette réalisation, aussi bien intensive, comme parachèvement, qu’extensive comme intégration, s’opère grâce à une redéfinition de deux concepts (néo-)aristotéliciens : la métaphysique et la perfection. Ces deux notions qu’al-Fārābī transforme, afin de proposer des résolutions à des tensions propres aux positions aristotéliciennes, conduisent à un système philosophique original. La notion de fiṭra, qui définit la figure fārābīenne de l’homme, s’appuie sur l’interprétation essentialiste de la perfection d’Alexandre d’Aphrodise et permet de construire une nature humaine comme disposition prise dans une logique de substantialisation. Avec ce nouveau concept, al-Fārābī inscrit au cœur de la substance un dynamisme, tout en rendant essentiel son parachèvement. De cette étape fondationnelle, il fait émerger une véritable science pratique autour la vertu délibérative et des règles qu’elle produit. Or cela n’est possible que sur le fond de transformations ontologiques majeures : apparaît alors la chose, l’ontologie formelle qu’elle permet et la distinction entre l’essence et l’existence qu’elle présuppose. L’action politique du philosophe qui, par sa substantialisation, offre à tous, sous forme religieuse, leur réalisation permet l’intégration architectonique de l’ensemble des existants manifestant par là ce que c’est qu’être principe. / This PhD thesis is a study of the thought of al-Fārābī, the first of the main Aristotelian Arabic philosophers, and presents it as a systematic philosophy of realisation. Starting with the problematic crux of the articulation between the theoretical and the practical, it questions the totalizing unification that characterizes the “Second Master’s” work. Our hypothesis is that this realisation, both in its intensive form as completion and its extensive form as integration, takes place through a redefinition of two (neo-)Aristotelian concepts: metaphysics and perfection. These two notions, that al-Fārābī transforms in order to offer answers to tensions proper to the Aristotelian positions, lead to an original philosophical system. The notion of fiṭra, which defines the Fārābīan human figure, is based on Alexander of Aphrodisias’ essentialist interpretation of perfection. It enables an elaboration of human nature as a disposition in the logic of substantialization. With this new concept, al-Fārābī inscribes a dynamic at the heart of the substance while rendering its completion essential. From this foundational step, he erects a genuine practical science built around the deliberative virtue and the rules it produces. This is only possible through major ontological transformations: thus the concept of thing appears, as well as the formal ontology it enables and the distinction between essence and existence which it presupposes. Through his substantialization, the philosopher offers everyone their realisation in the form of religion, so that his political action enables the architectonic integration of all existents, hence showing what it is to be a principle.

<p>This thesis employs Mikhail Bakhtin’s notion of architectonics to examine the poetry of Nima Yushij, the father of “New Persian Poetry.” The architectonic structure of Nima’s poems presupposes an authorial position situated outside the whole of the work. Outsideness provides the author with the distance that is necessary for consummating the hero and all other elements inside the work’s environment in determinate spatial and temporal boundaries. As Bakhtin puts it, only in this way can the author acquire a surplus of seeing that is required for adopting a valuational stance in relation the hero and the work as a whole. To Bakhtin, the author’s valuational stance toward the hero is the essence of the aesthetic product. This valuational position vis-à-vis the other, which generates what Michael Holquist calls the “structure of authoring,” is enacted on multiple levels in Nima’s poems as the hero, and sometimes the narrator, also perform the authorial function vis-à-vis other characters inside the poem, i.e., fixing them in determinate spatial and temporal boundaries. Of course, from the author’s perspective, the hero and the narrator are also situated inside the poem and occupy specific horizons in its environment. In this sense, their authoring activity is not a precisely aesthetic activity. Nevertheless, Nima utilizes the hero and the narrator’ activity to foreground the structure of authoring inside the poem, to make its dynamics “viewable.” This is a point that I will try to elucidate fully in the course of this study.</p> / Doctor of Philosophy (PhD)

Made available in DSpace on 2016-03-22T17:27:14Z (GMT). No. of bitstreams: 1 regina zauk.pdf: 844467 bytes, checksum: 71615bf2938e821dea0c10753d990978 (MD5) Previous issue date: 2013-12-12 / This work is characterized as a dialogical analysis of the architectonics of the movie Amores Perros (Iñarritu, Mexico, 2000). It takes Bakhtin s dialogical theory as it basis, more specifically the concepts of architectonics and authorship (which implies those of chronotope and exotopy, as well as some proposals of authors from Film Theory, especially Robert Stam. Having a practical character, it aims to examine in which way the movie is architectonically organized for senses creation based on the articulation of different chronotopical perspectives. We discuss how the cinematographic work in analysis works with time, as well as the way this reveals the specificity of the authorial project, in order to show in which aspects this work of Iñárritu is emblematic regarding the possibility of creating simultaneity amid a chronological scenes succession. The work resorts to the concept of spheres-worlds, which refers to the ambience in which live the characters, spheres that join in terms of what we call a shattered mirror . As for the adopted proceedings, we describe the characters and their relationships and existences, considering more carefully three insertions of the same accident, vital for the narrative, and we evaluate the points of view of key characters regarding the accident, aiming at revealing the dynamics of architectonics concerning the enunciatively project of the author and the production of senses in the studied film narrative / Este trabalho caracteriza-se como uma análise dialógica da arquitetônica do filme Amores Perros (Iñarritu, México, 2000). Tem como referencial a teoria dialógica de Mikhail Bakhtin, mais especificamente os conceitos de arquitetônica e autoria (que envolvem o cronotopo e a exotopia), bem como o de teóricos de Teoria de Cinema, notadamente, Robert Stam. De caráter prático, busca examinar de que maneira se organiza arquitetonicamente o filme na criação de sentidos, a partir da articulação de diferentes perspectivas cronotópicas. Problematizamos a maneira como a obra cinematográfica, em análise, lida com o tempo, assim como a maneira como isso revela a especificidade do projeto autoral, a fim de demonstrar em que aspectos essa obra de Iñárritu é emblemática em relação à possibilidade de criar simultaneidade em meio a uma sucessão cronológica de cenas. O trabalho recorre ao conceito de esferas-mundo que remete às ambiências em que vivem as personagens, esferas que se integram nos termos do que denominamos espelho estilhaçado . Quanto aos procedimentos adotados, são descritas as personagens e suas relações e vivências, considerando, mais detidamente, as três inserções de um mesmo acidente, vital para a narrativa, e avaliamos os pontos de vista de personagens-chave quando do acidente, buscando verificar as dinâmicas da arquitetônica quanto ao projeto enunciativo do autor e à produção de sentidos na narrativa fílmica em questão