Este trabalho surge da inquietação frente aos diálogos entre educação estética e design, observados por anos em experiências profissionais dentro de educativos de museus e centros culturais da cidade de São Paulo. Decorrente da vontade de analisar mais detidamente estes diálogos, a finalidade deste trabalho é de estuda-los por meio de uma análise histórica do design, com a qual o caso do educativo do sistema britânico de ensino, South Kensington, guarda importantes interlocuções, mesmo que em chave crítica de análise. A partir desta crítica, ampliam-se os estudos em direção à filosofia, permitindo a investigação destes diálogos sob a lente do conceito de \"emancipação\", de Jacques Rancière e, simultaneamente, sob as perspectivas teóricas de Bruno Latour, especificamente aquelas voltadas ao design. É do reexame da ideia de design e de educação estética que esta pesquisa parte para uma reflexão sobre como o modus operandi do primeiro, articulador por essência, impulsiona o segundo no sentido de possibilitar regimes emancipatórios, a partir da ideia de estética enquanto configuração de paisagens sensíveis de determinados sujeitos. Tendo em vista essa atualização das duas disciplinas, este trabalho pretende analisar a potência de trabalha-los sob uma perspectiva transdisciplinar, segundo a hipótese de que, para permitir a emancipação, faz-se necessário considerar tanto regimes constituídos por ímpetos de elaboração quanto os constituídos por paixões e afetos. / This work arose from the restlessness felt when facing the dialogues between aesthetic education and design, observed for years in professional experiences within museums and cultural centers educational programs in São Paulo. From the will to analyze more closely these dialogues derived the purpose of this work, to study them through a historical analysis of design, in which the case of the British educational system, South Kensington, holds important connections, even in a critical way. From this point, the studies extend toward philosophy, allowing us to investigate these dialogues under Jacques Rancière\'s concept of \"emancipation\" and, simultaneously, under Bruno Latour\'s theoretical perspectives, specifically those focused on design. It is from the reexamination of the ideas of design and aesthetic education that this research proposes a reflection about how design\'s modus operandi, an articulator by essence, boosts the aesthetic education in order to incorporate emancipatory schemes based on the definition of aesthetics as the sensitive landscape of certain individuals. Considering this update of both disciplines, this work aims to analyze the power of approaching them from a transdisciplinary perspective, according to the hypothesis that, to allow emancipation, it is necessary to consider both schemes, those consisting of the impetus of elaboration as those consisting of passions and affections.

The chief objective of this study is to examine the works of Bruno Jasienski in order to show that he used the grotesque throughout his creative career as the most effective artistic method of highlighting issues he deemed important, as well as a means of disguising his personal view of the world and its people. The study consists of two parts: Part I is devoted to a brief survey of the development of the grotesque, with particular emphasis on the relationship between grotesque art and those artistic movements with which Bruno Jasienski associated himself, namely avant-garde and socialist realism. Part II is devoted to a close examination ofthe grotesque in Jasienski's major works. It opens with a summary and interpretation of Jasienski's personal views on art and its role in modern society. It then seeks to demonstrate that the essence of his grotesque method lies in the conflation of bizarre events with the scrupulous recreation of reality that insists on the accuracy of historically and geographically identifiable data. Such a method permits the artist to expose the absurdity oflife in a world obsessed with appearance and material possessions. Believing that art should be the reflection of life, Jasienski saw life as a constant game between form what it seems to be and content - what it really is - a perception that led him to conclude that it is impossible to resolve the conflict between the world as it appears to be and its true nature. This sense of the impossibility of orientating oneself in a world dominated by ideologies intensifies during the period of Jasieriski' s life that he spent in the Soviet Union. The closer examination of his satiric grotesques written in Russian, apart from explicitly satiric targets, betray the author's growing apprehension that Communism, especially its Stalinist version, might be yet another deceitful far;ade made of promises and alluring slogans. The grotesque character of those works that focus on the opportunism and hypocrisy of politicians, also exposes the ambivalence of ideologies which while liberating some are used as the instrument of oppressing others / Classics and Modern European Languages / D.Litt. et Phil. (Russian)

Univ., Diss.--München, 2004.

Not available / text

The creation and manipulation of infinite images is central to Bruno's thought, but to the best of my knowledge, this has never been properly treated before. This project is a departure from much of the current scholarship on Bruno which has focused on his contribution to scientific thought, and downplayed or ignored the Hermetic and magical elements which pervade his work. Each chapter deals with different works of Bruno, and different aspects of his philosophy, and each is rooted in the larger project of uncovering the role, meaning, and application of images in Bruno's thought. / The general arc of the thesis is from the interior and personal to the cosmological and metaphysical. Chapter 1 begins with a study of the faculty of phantasy and the role of images on human cognition. This is Bruno's epistemology and anthropology as expressed in Imaginum. Chapter 2 covers the ethical and social applications of images, and how the control of images manipulates reality. This concept is represented in the reconstruction of the universe in The Expulsion of the Triumphant Beast. Chapter 3 deals with the physics---or mechanics---of his philosophy, with its roots in Hermetic magic as described in Vinculis and Magia, wherein images are used to create bonds. Chapter 4 addresses Bruno's cosmology, which adopts the Copernican model and reinterprets that model as a hieroglyph. It is the heuristic key in Ash Wednesday Supper, the image of which exists in the faculty of phantasy and becomes embedded on to the universe. The two become indistinguishable and work in union. Through the coincidence of opposites, matter becomes form and God becomes man. The image of the infinite cosmos becomes re-embedded in the single instance of an image in the faculty of Phantasy. / The conclusion will bring together these epistemological, ethical, mechanical, cosmological, and metaphysical strains of Bruno's philosophy into a statement on the Brunian reformation as he saw it, and on the contemporary relevance of his theory and application of images.

Zugl.: Berlin, Humboldt-Univ., Diss., 2006 u.d.T.: Augsburger, Janis: Dimensionen des Masochismus - zum Werk von Bruno Schulz

Diss.--Philologie--Bochum, 1975. / Bibliogr. p. 417-433. Index.

In this thesis I explore the complex nature of James Joyce's relationship with Giordano Bruno in The Day of the Rabblement, Stephen Hero, A Portrait of the Artist as a Young Man, and Ulysses. I employ an historicist methodology, and examine Joyce's encounter with Bruno in the context of the discursive environment of contemporary Roman Catholicism, specifically in relation to the triumph of Ultramontanism within the Church and the emergence and suppression of Roman Catholic Modernism. I argue that an historicist examination of this relationship provides an extremely effective means of realising some of the urgency and offensiveness of Joyce's critical engagement with contemporary Catholicism. I discuss the manner in which Joyce's encounter with Bruno's writings and legacy in the 1900s steeled him in his own struggle with Catholic orthodoxy, and I explore the significance of the heretical trace of Bruno's philosophical and cosmological writings in Joyce's novels from 1904 to 1922.

Submitted by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-08-01T13:08:36Z No. of bitstreams: 1 DISSERTAÇÃO.pdf: 989586 bytes, checksum: 221727beed1d28f76362aeee4d53546e (MD5) / Approved for entry into archive by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-08-01T13:11:43Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO.pdf: 989586 bytes, checksum: 221727beed1d28f76362aeee4d53546e (MD5) / Made available in DSpace on 2017-08-01T13:11:43Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO.pdf: 989586 bytes, checksum: 221727beed1d28f76362aeee4d53546e (MD5) / A dissertação busca entender as condições de possibilidade de uma sociologia descentrada, os primeiros passos daquilo que pode ser chamado de uma nova revolução copernicana nas ciências sociais. Evitando mergulhar diretamente nesse terreno, o trabalho acaba sendo muito mais uma introdução, um percurso inicial, ou seja, os bastidores desse modo alternativo de conduzir o fazer científico. Gilles Deleuze será a referência o tempo todo, sendo aquele critério que organiza os argumentos, mesmo os mais sociológicos, como quando Garfinkel entra na discussão. Nesse sentido, o objetivo não é esgotar os limites da filosofia deleuziana ou o entendimento dos seus dois conceitos principais, mas apresentar, na medida do possível, sua ressonância na composição do pensamento social, sugerindo, embora não aprofundando, uma nova revolução copernicana á vista, um novo rumo trilhado pela sociologia nos dias de hoje. Deleuze, ironicamente, vai ter certos contornos, fronteiras, o que soa um pouco estranho dentro dos padrões de sua própria filosofia. Apesar de sua intensidade, de seu transbordamento, o signo precisa limitar aquilo que pode oferecer, nesse caso seu autor e suas ideias. Apesar da abertura do possível, da escapabilidade do Real, ele vai ser entendido dentro de um recorte sociológico, sendo nomeado, circunscrito, tornando a figura deleuziana apreensível, adequada, ao menos para os limites dessa dissertação e das próprias expectativas que circulam aqui, evitando se perder no cenário filosófico e sua estrutura analítica. / The dissertation seeks to understand the conditions of possibility of a “descentered sociology”, the first steps in what can be called a new Copernican revolution in the social sciences. By avoiding to plunge directly into this place, the work ends up being much more an introduction, an initial course, that is, the backstage of this alternative way of conducting the scientific doing. Gilles Deleuze will be the reference all the time, being that criterion that organizes the arguments, even the most sociological, as when Garfinkel enters the discussion. In this sense, the aim is not to exhaust the limits of Deleuzian philosophy or the understanding of its two main concepts, but to present, as far as possible, its resonance in the composition of social thought, suggesting, though not deepening, a new Copernican revolution in the horizon, a new direction followed by sociology today. Deleuze, ironically, will end up gaining boundaries, limits, which sounds a little strange within the standards of his own philosophy. In spite of its intensity, of its overflow, the sign must limit what it can offer, in this case its author and its ideas. Despite the openness of the possible, the fleetingness of the Real, it will be understood within a sociological cut, being named, circumscribed, making the Deleuzian figure apprehensible, adequate, at least for the limits of this dissertation and the very expectations that circulate here, avoiding lose itself in the philosophical scenario and its analytical structure.

The chief objective of this study is to examine the works of Bruno Jasienski in order to show that he used the grotesque throughout his creative career as the most effective artistic method of highlighting issues he deemed important, as well as a means of disguising his personal view of the world and its people. The study consists of two parts: Part I is devoted to a brief survey of the development of the grotesque, with particular emphasis on the relationship between grotesque art and those artistic movements with which Bruno Jasienski associated himself, namely avant-garde and socialist realism. Part II is devoted to a close examination ofthe grotesque in Jasienski's major works. It opens with a summary and interpretation of Jasienski's personal views on art and its role in modern society. It then seeks to demonstrate that the essence of his grotesque method lies in the conflation of bizarre events with the scrupulous recreation of reality that insists on the accuracy of historically and geographically identifiable data. Such a method permits the artist to expose the absurdity oflife in a world obsessed with appearance and material possessions. Believing that art should be the reflection of life, Jasienski saw life as a constant game between form what it seems to be and content - what it really is - a perception that led him to conclude that it is impossible to resolve the conflict between the world as it appears to be and its true nature. This sense of the impossibility of orientating oneself in a world dominated by ideologies intensifies during the period of Jasieriski' s life that he spent in the Soviet Union. The closer examination of his satiric grotesques written in Russian, apart from explicitly satiric targets, betray the author's growing apprehension that Communism, especially its Stalinist version, might be yet another deceitful far;ade made of promises and alluring slogans. The grotesque character of those works that focus on the opportunism and hypocrisy of politicians, also exposes the ambivalence of ideologies which while liberating some are used as the instrument of oppressing others / Classics and Modern European Languages / D.Litt. et Phil. (Russian)