Made available in DSpace on 2016-12-23T13:52:58Z (GMT). No. of bitstreams: 1 Igor Nunes Costa.pdf: 435231 bytes, checksum: 37075a7991babaf49cade814a3876929 (MD5) Previous issue date: 2012-12-10 / Trata da ideia de descentramento em Roberto Schwarz que surge da inserção subordinada do Brasil no âmbito internacional, paralelamente à acomodação de ideias da modernidade europeia pelas relações de favor da sociedade brasileira. Essa ideia é analisada tanto nas obras em que Schwarz discute o desenvolvimento do país quanto nas relações de classe e na tradição intelectual que se insere. Esse descentramento é ressaltado no período da Independência do Brasil, feita de forma conservadora, quando as ideias europeias foram colocadas em gravitação, pelas elites, na sociedade escravista e paternalista brasileira. Tais ideias tornaram-se ornamento, dado que a participação das elites nos benefícios das sociedades avançadas só se efetuaria sob a exploração econômica e a dominação política instaladas naquele período e reatualizadas com o avanço do capital. Ideias, portanto, que não possuíam a mesma eficácia que tinham nos países de origem, sendo sempre deslocadas pelo favor. Dada à relativa autonomia da cultura em frente à economia, no processo de formação do Brasil, leis, arquitetura, literatura, costumes foram trazidos para o país e implantados, contribuindo para o desajuste entre cultura nacional e estrangeira, que é nossa também, nessas condições desajustadas. Uma dessas ideias, a de desenvolvimento, fundado na ciência e na técnica, estimulava o avanço aos saltos da estrutura econômica sem o devido acompanhamento do processo social que lhe dissesse respeito. Na verdade, isso se dá em função da regressão desse processo, porque o avanço tecnológico dos países centrais não poderia ser acompanhado pelos periféricos, uma vez que tal avanço mantém, com aqueles países, a propriedade do produto novo, mais produtivo, impossibilitando que os países periféricos acompanhem os patamares de concorrência, de produtividade e de eficácia dos países centrais. Em nível de conclusão, apontamos que o avanço sem os investimentos correlatos em áreas sociais que o sustentem repõe permanentemente a exclusão, as segregações sociais, a desigualdade e as relações de favor com seus componentes de arbítrio, hierarquia e violência / This idea of decentering in Roberto Schwarz, arising from subordinated insertion of Brazil in the international parallel to accommodation ideas of modernity by European relations favor of Brazilian society. It is analyzed in the works in which he discusses the development of the country, class relations and intellectual tradition in which it operates. This decentering is emphasized during the Independence of Brazil, made conservatively, when European ideas were put into gravitation elites in Brazilian slave society and patronizing. Such ideas have become ornaments, since the participation of elites in the benefits of advanced societies only be wrought under the economic exploitation and political domination update installed in that period and with the advance of capital. Ideas, so that did not have the same effect it had on countries of origin, always being displaced by favor. Given the relative autonomy of culture facing the economy, the process of formation of Brazil, law, architecture, literature, customs were brought into the country and implemented, contributing to the mismatch between domestic and foreign culture, which is ours under these conditions maladjusted. One of these ideas, the development, founded on science and technology, advancing by leaps stimulated economic structure without due process monitoring social to tell him about it. In fact, according to the regression of this process, since the technological advancement of the core countries could not be accompanied by peripherals, as this keeps advancing, with those countries, ownership of the new product, more productive, making it impossible for the peripheral countries follow the levels of competition, productivity and effectiveness of core. Advancing therefore no related investments in social areas that sustain this progress, exclusion, social segregation, inequality and relations of favor with your choice of components, hierarchy, violence replenished constantly

O presente trabalho pretende analisar a questão do descentramento do sujeito e da construção da subjetividade na (pós)modernidade a partir do objeto avatar digital e a virtualização para melhor entender de que maneira esse novo objeto se insere e se oferece como uma nova forma de sociabilidade. O mesmo se propõe abordar e desconstruir uma certa noção de indivíduo no que esta contribui para uma concepção de sujeitos como algo dotado de uma essência que enquanto tal negaria ao sujeito a sua dinamicidade e consequentemente a dimensão representacional das relações sociais tal como demonstrada por Goffman. Portanto, o intuito desse trabalho é o de tentar restituir ao objeto avatar digital a sua validade enquanto forma legítima de relação social ao compará-lo as demais formas de relações reais e/ou virtuais. / This dissertation aims to analyze the question of the decentering of the subject and the construction of subjectivity at (post) modernity from the standpoint of the digital avatar object and the virtualization in general to better understand how this new object inserts and offers itself as a new form of sociability. It also intends to approuch and deconstruct a certain notion of individual as something provided with an essence in which as it is would ultimatly deny the dynamicity of the subject and consequently the representational dimension of social interactions such as demonstrated by Erwing Goffman. Therefore, the aim of this work is to try to restitute the validity of the digital avatar object as a genuine form of social interaction by comparing it with other forms of relations, be it real and/or virtual.

O presente trabalho pretende analisar a questão do descentramento do sujeito e da construção da subjetividade na (pós)modernidade a partir do objeto avatar digital e a virtualização para melhor entender de que maneira esse novo objeto se insere e se oferece como uma nova forma de sociabilidade. O mesmo se propõe abordar e desconstruir uma certa noção de indivíduo no que esta contribui para uma concepção de sujeitos como algo dotado de uma essência que enquanto tal negaria ao sujeito a sua dinamicidade e consequentemente a dimensão representacional das relações sociais tal como demonstrada por Goffman. Portanto, o intuito desse trabalho é o de tentar restituir ao objeto avatar digital a sua validade enquanto forma legítima de relação social ao compará-lo as demais formas de relações reais e/ou virtuais. / This dissertation aims to analyze the question of the decentering of the subject and the construction of subjectivity at (post) modernity from the standpoint of the digital avatar object and the virtualization in general to better understand how this new object inserts and offers itself as a new form of sociability. It also intends to approuch and deconstruct a certain notion of individual as something provided with an essence in which as it is would ultimatly deny the dynamicity of the subject and consequently the representational dimension of social interactions such as demonstrated by Erwing Goffman. Therefore, the aim of this work is to try to restitute the validity of the digital avatar object as a genuine form of social interaction by comparing it with other forms of relations, be it real and/or virtual.

This study examined the relationship between interpersonal decentering and symptoms of psychopathology among 48 clients from the Psychology Clinic at the University of North Texas. The Thematic Apperception Test (TAT) and the Symptom Checklist 90-Revised (SCL-90-R®) instrument were administered to clients along with demographic packets. Interpersonal decentering was assessed using Melvin Feffer's Interpersonal Decentering Scoring System for the TAT. It was hypothesized that higher scores of global symptom severity would be associated with lower scores of interpersonal decentering. Higher scores of paranoid ideation, psychoticism, and hostility were also hypothesized to be associated with lower scores of interpersonal decentering. Results did not support these hypotheses. However, exploratory analyses revealed a significant correlation between higher scores of phobic anxiety and lower scores of interpersonal decentering. Results also provided information regarding the three methods for calculating interpersonal decentering summary scores.

The termination of a romantic relationship, be it by breakup or divorce, is a fairly ubiquitous experience. Most individuals will recover from a traumatic experience of this nature; some however, experience substantial difficulties in recuperating that persist over time. For these individuals, relationship termination can invoke a variety of negative physical and psychological health outcomes. This project examines the role of social cognitive maturity, operationalized as Interpersonal Decentering, in recovery following a relational loss. Participants in this study were assigned to a pre/post control or measurement intensive (four visits) condition over the course of nine weeks. Individuals in the latter condition completed a Stream of Consciousness (SOC) task in which they discussed their breakup experience out loud for four minutes. These narratives were then transcribed and scored using the Interpersonal Decentering manual as adapted for Expressive Writing. Results indicate that – for women only – mature social cognition is inversely related to depressive mood at the initial visit. However, it is not related to initial PSTD symptomatology for men or women, nor does it predict decreases in depression and trauma symptomatology from the initial visit to the nine-week follow-up. Implications, limitations, and future directions for research of this nature are discussed.

<p>Results from this study show a moderate association between decentering and sBRS.</p> <p> Previous studies have associated decentering, a non-judgmental view of emotions, with lower arterial stiffness and better nocturnal blood pressure dipping in adults. It is unknown however if autonomic regulation of blood pressure is linked to decentering. Therefore, the purpose of this study was to determine if decentering was related to cardiovagal or sympathetic baroreflex sensitivity (sBRS). Thirty-three adults (age 25±6 years; BMI 25±3 kg/m2 ) with resting blood pressure ≥120/80 mmHg volunteered for this study. All participants had a BMI <30 kg/m2 , and had no history of smoking, diabetes, or prescriptions for blood pressure or cardiac function. Participants completed an 11-item experiences questionnaire to evaluate decentering, and then were equipped for a supine autonomic evaluation. The autonomic evaluation included continuous recording of heart rate via 3-lead ECG, muscle sympathetic nerve activity (MSNA) via microneurography, and beat-to-beat blood pressure via finger photoplethysmography. Cardiovagal baroreflex sensitivity (n=33) included estimation of vagal activation by evaluating up-up relationships between systolic arterial pressure (SAP) and R-R intervals of the ECG. Vagal withdrawal was also estimated via the down-down relationships between SAP and R-R intervals. Spontaneous sBRS (n=17) was evaluated by assessing the relationship between changes in diastolic arterial pressure (DAP) in 3 mmHg bins vs. changes in MSNA burst incidence (bursts / 100 heart beats) in those with DAP-MSNA correlations >0.70. Results from 2-tailed Pearson correlation analyses revealed that there was not a relationship between decentering and vagal activation (r=-0.07; p=0.71) or between decentering and vagal withdrawal (r=-0.28; p=0.12). There was a moderate, negative correlation between decentering and sBRS that lacked statistical significance (r= -0.35; p=0.17). Our findings suggest that there is not a clear link between decentering and autonomic regulation of blood pressure as estimated through cardiovagal 11 baroreflex sensitivity, but the moderate correlation between decentering and sBRS should be explored in a larger sample size. </p>

In the current climate crisis, creating a symbiotic collaboration between all members of an ecosystem has become a prominent topic. By reevaluating human-centered methodologies through a cultural probe and an orienting activity, I address notions of collaboration, cohabitation and extending one’s body beyond the skin. I explore the concept of care in human-plant relationships, along with understanding the trouble with designing for and with care in the context of human-nature-technology kinship. The cultural probe, through its ambiguity, has prompted reflections on care and multispecies kinship, whereas the orienting activity has been an attempt to potentially shift to a non-anthropocentric perspective. A materialization of speculative thinking, these activities are a first step in challenging human exceptionalism, a new approach to viewing the human as decentered in design. This paper positions care as a premise in addressing human-centered methodologies to include non-human actors, with prototypes and speculative design as techniques that facilitate approaching a challenging and complex topic as one of more-than-human assemblages. / I den nuvarande klimatkrisen har skapandet av symbiotiska sammarbeten mellan alla deltagare av ett ekosystem blivit ett viktigt ämne. Genom att omvärdera människocentrerade metodiker genom en cultural probe och en orienterande aktivitet adresserar jag idéer om sammarbete, samlevnad och förlängningen av ens kropp bortom huden. Jag utforskar konceptet handomtagande i människo-plant-relationer tillsammans med förståelsen för mödorna med att designa för och med handomtagande i kontexten människa-natur-teknologi-släktskap. En cultural probe har genom dess tvetydighet drivit reflektioner kring handomtagande och mångfaldsläktskap, där den orienterade aktiviteten var ett försök till ett potentiellt shifte till ett icke-antropocentriskt perspektiv. Dessa aktiviteter, som är material från spekulativt tänkade, är ett tillvägagångasätt och första steg i att utmana människocenterad exceptionalism i design. Denna artikel positionerar handomtagande som en premiss i adresserandet av människocentrerade metodiker till att inkludera icke-mänskliga aktörer genom användandet av prototyper och spekulativ design som underlättande tekniker till utmaningar och komplexa ämnen som mer-än-mänskliga församlingar.

Die Ethnographie basiert auf der Annahme, dass Kunstakteur_innen in Umbruchszeiten wesentliches Potenzial freisetzen können, um gesellschaftliche Prozesse mitzugestalten. Indem sie künstlerische und soziale Entwürfe formulieren, sind sie am Entwickeln von Strukturen und Debatten beteiligt. An Hand zweier Initiativen in Rumänien, der Künstlerinnengruppe h.arta und dem Kunstprojekt The KNOT, untersucht die Arbeit, wie diese Räume und Öffentlichkeiten herstellen. Dazu wird nach den Verständnissen der Akteur_innen von Öffentlichkeiten-Schaffen als politischem Handeln gefragt und nach ihren künstlerischen Praktiken und Strategien. Des Weiteren wird erörtert, inwiefern ihre Erfahrungen mit Transformation und prekären Bedingungen dabei von Bedeutung sind und welche Narrative hinsichtlich symbolischer Zuschreibungen ehemals sozialistischer Kontexte sichtbar werden. Die Arbeit verortet sich in der politischen Anthropologie. Sie verknüpft die Forschungsfelder „Kunst als soziales/politisches Handlungsfeld“ und „Transformation/Europäisierung“ und untersucht sie als eine „Formation des Politischen“ (Adam/Vonderau 2014). Dazu macht sie ein plurales Öffentlichkeitskonzept sowie feministische Perspektiven auf das Kunstfeld stark. Mit einem post-Kalter-Krieg-Ansatz erörtert sie zudem die Verflechtungen postsozialistischer und postkolonialer Prozesse. Abschließend werden die Praxen der Kunstakteur_innen aus einer dezentrierenden Perspektive auf Europäisierung analysiert. Dazu folgt die Arbeit Ansätzen, Europa von seinen „Rändern“ her zu denken und es somit zu dezentrieren und bezieht diese auf das lokale Kunstproduzieren im europäischen Kontext. Es wird gezeigt, wie die rumänischen Kunstakteur_innen, exemplarisch für die „Ränder“ (EU)Europas, aus ihrer oft prekären Situation heraus Räume der Selbstermächtigung schaffen. Diese sind in sich brüchig tragen jedoch zur Imagination und Dezentrierung eines europäischen Kunstfeldes bei und zeigen Alternativen zum neoliberalen EU-Europa auf. / The ethnography is based on the assumption that artists can unleash a substantial potential to contribute to social processes in times of upheaval. By formulating artistic and social conceptions, they participate in the development of structures and debates. This dissertation investigates how two Romanian initiatives, the artist group h.arta and the art project The KNOT, create publics and spaces respectively public space. It portrays the artists’ understandings of “creation of public as a political act” and analyzes their practices and strategies. Further, it examines the significance of the artists’ personal experiences with transformation and precarious conditions, and analyzes the narratives governing the ascription of symbolism to formerly socialist contexts. The dissertation is located in the field of political anthropology. It combines the research areas “Art as a Social/Political Field of Action” and “Transformation/Europeanization”, and investigates them as a “Formation of the Political” (Adam/Vonderau 2014). It thereby advocates a concept of plural publicities and feminist perspectives on art. Moreover, it explores the entanglement of post-socialist and postcolonial processes by adapting a post-Cold War approach. Finally, the dissertation examines the artists’ practices from a decentering perspective on Europeanization. It thus applies approaches, which understand Europe from its “margins”, to the local production of art in the European context. As a result, the dissertation illustrates how these Romanian artists, generic for the “margins” of (EU-)Europe, create spaces of self-empowerment out of their frequently precarious situations. Although fragile, these spaces contribute to the imagination and decentering of the European field of art and offer alternatives to neoliberal EU-Europe.

L’idée de « représentation du monde sans jugement », double visée du réel et du neutre, rassemble des œuvres qui aspirent à donner à voir le monde sans en orienter le commentaire et en débusquant le jugement dans nos représentations. En faisant l’hypothèse d’un « réalisme neutre », nous étudions les stratégies dramaturgiques de suspension du sens qui répondent à cette intention. Nous interrogeons l’existence d’une lignée de dramaturges qui, depuis le théâtre clinique de Tchekhov et à l’opposé du théâtre critique brechtien, conduit le spectateur à « l’étonnement d’un monde sans procès » (Barthes). En confrontant ces représentations du monde sans jugement au théâtre documentaire et au réalisme critique brechtien, nous analysons un changement de paradigme dans la représentation du réel, sa modélisation clarifiante et engagée laissant place à une expérience ouverte à l’interprétation. De Horváth aux auteurs quotidiennistes, en passant par Fleisser, Adamov, Kroetz et jusqu’à des réinventions contemporaines d’un théâtre « presque documentaire », comment ces esthétiques de la monstration échappent-elles à une simple symptomatologie superficielle du monde ainsi qu’aux malentendus induits par la délégation du jugement au spectateur ? Cette question oriente notre étude des décentrements dramaturgiques du réalisme, à travers lesquels s’affirment une autre pensée de la responsabilité critique du dramaturge et une dimension politique du neutre. Les œuvres et démarches de M. Vinaver, O. Hirata, J. Pommerat et L. Norén illustrent quatre modalités de ce « réalisme neutre », de l’exemption à la pluralisation du sens, en passant par le trouble, l’errance ou le saisissement du spectateur. / Prejudice-free depictions of the world are the aim both of reality and of any neutral approach. They bring together works of art that show the world without inducing any commentary while exposing our opinions in all representations. We will hypothesise the concept of “neutral realism” to analyse the strategies used by dramatic arts to produce suspension of meaning. We question the existence of a tradition of dramatic authors – ranging from Tchekhov’s “clinical theater” to Brecht’s “critical theater” – that lead spectators to what Barthes termed the “astonishment upon discovering a trial-free world”. We will weigh such prejudice-free representations of the world against documentary drama and against Brecht’s critical realism. Such a comparison will evidence a paradigm shift where an explicit, committed type of modelling seems to give way to a more open interpretative experience. From Horváth to daily-life authors and to Fleisser, Adamov, Kroetz and other contemporary re-inventors of “quasi- documentary-style” drama, the question can be thus articulated: how do such illustrative aesthetics succeed in circumventing both merely superficial symptomatology of the world and the misunderstandings that might arise from the decision of leaving the viewer to judge the work on their own? The answer to the question guides our analysis of the dramatic arts’ decentering of realism, through which another vision of the responsibility of the dramatic author emerges, as well as a new take on the political nature of a neutral approach. The works and reflections of M.Vinaver, O. Hirata, J. Pommerat and L. Norén evidence four aspects of this “neutral realism”, ranging from the cancellation of meaning to multifaceted meaning and to troubled, disconnected or awed spectators.