La logique de l’implicite est une recherche comparative entre différents systèmes métaphysiques qui visent à dégager la forme de l’argumentation philosophique propre à chacun de ces systèmes. L’étude porte sur Parménide, Platon, Aristote, Descartes, Spinoza, Leibniz, Hume, Kant, Hegel, et Nietzsche – Deleuze. L’approche consiste en un suivi au plus près des textes majeurs des philosophes cités, suivi qui contracte et résume leurs argumentations en montrant des points de rencontre et de divergence dans la manière de produire leurs positions ontologiques. Il s’agit donc de lire ces textes du point de vue de la construction du raisonnement, et par suite il s’agit de dégager les outils constructifs qui caractériseraient la manière de faire philosophique. Le contenu n’est considéré alors que du point de vue de son rapport à ces formes argumentatives.La logique de l’implicite de la part ces différentes études de cas se propose donc comme un projet de philosophie abstraite c’est à dire une approche qui vise à dégager les éléments et relations de l’argumentation ontologique. L’attention est portée sur des styles généraux – comme l’approche par choc ou par distinction –, sur certain éléments récurrents dans tous les systèmes – comme la plus petite différence, le point double, la qualification extensive ou compréhensive –, et enfin sur les relations – l’explication, l’implication, et la complication. Il est avancé que l’implicite occupe une place centrale dans l’argumentation métaphysique dans la mesure où c’est depuis cette place que peut se poser toute explication ou connaissance. / Logic of the implicit is a research that compares different metaphysical systems and aims at extracting the form of philosophical argumentation proper to each of these systems. The study is carried on Parmenides, Plato, Aristotle, Descartes, Spinoza, Leibniz, Hume, Kant, Hegel, and Nietzsche – Deleuze. The approach consists in following as close as possible the fundamental texts of the above cited authors, an approach aimed at summarizing their argumentations and showing points of encounter or divergence in their way of producing their ontological positions. What is at stake then is to read these texts from the point of view of the construction of their arguments, and then to extract the constructive tools that characterize the philosophical way of doing things. The content is only considered from the point of view of its relation to these argumentative forms. Logic of the implicit, through these different case studies, proposes itself as a project of abstract philosophy, because it aims at extracting the elements and relations that are proper to the ontological argumentation. The attention is focused on showing the existence of general styles – such as the approach by choc or by distinction –, on certain elements recurrent in all the systems – such as the smallest difference, the double point, the extensive or comprehensive qualifications –, and at last on the relations – explication, implication, and complication. It is argued that the implicit occupies a central place in the metaphysical argumentation to the extent that it is from that place that any explanation is possible and thus any knowledge.

Aprender decorre da interpretação que cada pessoa faz do que está a sua volta e lhe emite signos. Este pressuposto norteou a construção deste texto, a partir de uma prática docente desenvolvida em duas turmas de estudantes do sexto ano do Ensino Fundamental, por meio da qual se propôs a elaboração do conceito de fração, levando-se em consideração diferentes contextos e significados para essa forma de representação dos números racionais. Os estudantes, em geral, apresentaram elementos indicadores de uma aprendizagem do conteúdo proposto, não concluída em termos de um acabamento conceitual, visto que a representação fracionária referente ao conceito de número racional é móvel, conforme seu contexto de significação. As constatações e percepções experimentadas nessa prática expressaram-se por meio de um fazer compartilhado entre os alunos, complementado por momentos de reflexão individual, e aqui são relatadas por meio da análise dos registros e produções realizadas. Enquanto professor-pesquisador, acompanhado de Deleuze, percebi-me como alguém, cujo fazer docente em um cotidiano de vivências de afetos e decifração de signos altera-se e me afeta de maneira contínua. / Learning derives from the interpretation that each person makes of what surrounds him or her and emits signs. This assumption guided the construction of this text, based on a teaching experience carried out in two classes of sixth grade elementary school students, through which the elaboration of the concept of fraction was proposed, taking into account the different contexts and meanings of this form of representation of rational numbers. In general, the students presented elements that indicate that they learned the proposed content, although not finished in terms of its conceptual completion, considering that the fractional representation of the concept of rational numbers is mobile, according to the context of its meaning. The findings and perceptions experienced in such a practice were expressed through a shared performance among the students, which was complemented by moments of individual reflection, and are reported here through the analysis of records and productions made. As a teacher-researcher, accompanied by Deleuze, I realized myself as a person continuously changed and affected by teaching in a daily life of affections and decipherment of signs.

The aim of this Master's thesis is to analyze the relation between the discursive formation and the optical formation in the public library-apparatus. An ongoing individualization process in the library field and in society at large is used as a backdrop in the analysis. Discourse analysis is used as a method to explore the main Swedish library periodicals Biblioteksbladet, Bibliotek i Samhälle and DIK-forum. All issues from the years 1999 and 2009 have been used as material. The main analytical instruments applied in the analysis of this material are Michel Foucault's terms dispositive, apparatus and diagram. My analysis results in the identification of an individualization diagram which organizes the public library discourse and the public library space planning. This can be observed in the way the library discourse has an intensified focus on the user as a free individualistic subject and in the conveyed understanding of knowledge as relative and individual. The structure of the library space also follows an individualistic organization with an emphasis on flexibility and diversity of use. This may result in a diffuse understanding of how the library should be used. It could also become more difficult for the public libraries to claim legitimacy in society.

El objeto de la presente investigación es indagar sobre el concepto de signo en la filosofía de Gilles Deleuze desde la perspectiva de una reflexión sobre el acontecimiento y la expresión. Asumiendo las distintas perspectivas en la obra del filósofo, nos ocupamos no solo de su unificación, sino de la singularidad del concepto de signo en tanto franquea su tratamiento en la tradición filosófica y, sobre todo, en las ciencias sociales. Para ello, y desde la perspectiva del acontecimiento y la expresión introducimos un aspecto genético y ontológico novedoso sobre el concepto de signo así como la incitación a una disquisición sobre sus relaciones en lo político-social. Estas dos perspectivas permiten revelar al concepto de signo deleuziano con una doble orientación: por un lado vital, abierta a la expresión y acontecimiento, y, por el otro, despótica, cuando la vitalidad se opaca en el fenómeno. / Tesis

Made available in DSpace on 2016-04-27T17:26:55Z (GMT). No. of bitstreams: 1 Davis Moreira Alvim.pdf: 871029 bytes, checksum: f8c67e0940c100d9252563ac92969562 (MD5) Previous issue date: 2011-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The inventory of hypotheses about the post-modernity is extensive. Generally, those who think it like a historical period and not only an aesthetic tendency indicates at least two important features: first, the victory of the ephemeral and the banality against the critical power of the modernity and, second, the new modulation or mutation of the postwar capitalism. Another direction taken by contemporary debate characterizes our times by the emergence of a new sovereign power, which makes the state of emergency a rule and turns the concentration camp into to a paradigm of government. In both cases, the resistances were subjected to silence or placed in the background. To approach the problem we propose the following question: how the resistances occur in the post-modern times? However, we must add to the problem an inflection inspired by Deleuze: how to think a resistance in itself, apart of the categories of negative? It was necessary to investigate the notion of resistance, especially in the writings of Michel Foucault and Gilles Deleuze and, in this way, determine his contributions, disagreements and meetings around the concept. We attempt to think the resistance in themselves, freeing them from exogenous factors that determine their dynamics and observing its affirmative power. We conclude that the resistances contain, by one hand, defectors and micropolitical aspects, which are primary in relation to power, and, by another hand, connectives and inventive characteristics / A lista de hipóteses sobre a pós-modernidade é extensa. De forma geral, aqueles que a pensam como um período histórico e não apenas uma tendência estética indicam ao menos dois traços importantes: primeiro, a vitória do efêmero e da banalidade sobre a potência crítica e contestatória existente na modernidade e, segundo, a nova modulação ou mutação do capitalismo do período pós-guerra. Outra direção tomada pelo debate contemporâneo caracteriza nossos tempos pela emergência de um novo poder soberano, que faz do estado de exceção uma regra e transforma o campo de concentração em um paradigma de governo. Em um caso como no outro, as resistências foram submetidas ao silêncio ou colocadas em segundo plano. Para começar a enfrentar o problema, propõe-se a seguinte questão: como se dão as resistências no pós-moderno? Contudo, seria preciso acrescentar ao problema certa inflexão inspirada em Deleuze: como pensar uma resistência em si mesma, independente das categorias do negativo? Assim, foi preciso investigar a noção de resistência, especialmente em alguns escritos de Michel Foucault e Gilles Deleuze e, dessa maneira, averiguar suas contribuições, divergências e encontros em torno do conceito. Busca-se pensar as resistências em si mesmas, livrando-as de condicionantes externos que determinem sua dinâmica, observando sua potência afirmativa, sua força ativa e criadora. Concluímos que as resistências possuem, por um lado, aspectos desertores e micropolíticos que são primordiais em relação ao poder e, por outro, características conectivas e inventivas

L’objectif de cette thèse est d’étudier le cinéma américain indépendant du point de vue de la différence qu’il instaure avec le cinéma hollywoodien, comme une ligne de fuite qui le déterritorialise tout en créant pour lui-même des formes nouvelles d’expression et de contenu. Cela suppose de considérer ses rapports avec le cinéma hollywoodien comme rapports entre deux plans d’immanence surgis au même niveau d’individuation à l’intérieur d’un plan d’immanence plus large, celui du cinéma nord-américain. Et, en même temps, il suppose de considérer la différence entre ces sous-plans dans ce qu’elle implique pour une pensée en cinéma, à savoir en blocs d’images-mouvement et d’images-durée, qui se trouve en face des tensions particulières qui caractérisent la société américaine. Dans cet esprit, la distinction principale qu’il faut considérer est celle qui passe entre : d’une part, le cinéma hollywoodien et ses différentes façons (genres, récit organico-actif) de « sauver » la différence, en la représentant ; et de la représenter en la rapportant aux exigences d’une seule grande forme en affinité directe avec ce que je définis comme rêve de continuité et de cohérence de la société américaine ; et, d’autre part, le cinéma indépendant et ses différentes façons de témoigner d’un fond rebelle qui déterritorialise le sens prédéterminé vers lequel les actions et les situations du cinéma hollywoodien convergent. Ce qui se trouve au-delà ou en-deçà de la représentation organique-hollywoodienne et que le cinéma indépendant arrache à cette dernière est un espace de distribution errante, intensive, entre forces et rapports de forces. / The objective of this thesis is to study the American independent cinema from the point of view of the difference which it founds with the Hollywood cinema, as a line of flight which deteritorialises the latter, while creating for itself new forms of expression and content. That supposes to consider its relation with the Hollywood cinema as one between two plans of immanence emerged on the same level of individuation inside a broader plan of immanence, that of the North-American cinema. And, at the same time, it supposes to consider the difference between these under-plans in what it implies for a cinema-thought, namely a thought in terms of blocks of movement-images and time-images, facing the particular tensions which characterize the American society. Within this framework, the principal distinction that should be considered is that which passes between: on the one hand, the Hollywood cinema and its various ways (genres, organico-active régime) “of saving” the difference, by representing it; and of representing it by bringing it back to the requirements of only one great form in direct affinity with what I define as a dream of continuity and of coherence of American society; and, on the other hand, the independent cinema and its various ways of testifying to a rebellious core which deteritorialises the predetermined direction towards which the actions and the situations of the Hollywood cinema converge. What is beyond or below Hollywood organic representation and that the independent cinema tears off from the latter is a space of wandering and intensive distribution between forces of power and forces of resistance.

Informe de Seminario para optar al grado e Licenciado en Filosofía / Nuestro estudio trata de ver sucintamente el rico análisis filosófico que Deleuze nos propicia en la conformación, interacción y dinámicas que guarda el campo de “lo político” y “lo social”, en conjunción e interacción con una cierta "Imagen del pensamiento", a la que Deleuze llama "dogmática". Esta última caracterizada, delimitada y desplegada bajo distintos planos superpuestos, pertenecientes de la tradición filosófica de la "representación” occidental. Así, nuestro estudio tendrá en vista, las consecuencias prácticas y políticas que esta imagen implica, como también los grandes problemas que bordean y se vinculan con el pensamiento filosófico en un plano especulativo-ontológico (problema de la Diferencia). Por último esto nos da pie para recusar tangencialmente, el advenimiento y porvenir de una "”Nueva imagen del pensamiento”", que trata algunos de los grandes problemas críticos de la filosofía deleuziana en su potencial conjunción política, a base de una construcción activa de lo múltiple.

This thesis concerns the colonial subject, subjectivity, and resistance in postcolonial theory and literature. It argues that contemporary attempts within the practice of postcolonial theory to retrieve a colonial subject from a representation that issues from a dominating colonial discourse can only be met with failure. Thus, this thesis follows Spivak's claim that the colonial subject is merely a production of positions granted by its very representation, which is to say, a given. However, this thesis also recognises that Spivak's assertion cannot account for moments of resistance to colonial discourse that abound in postcolonial literature. As such, this thesis claims that the colonial subject is not wholly given; that if one approaches the colonial subject through Gilles Deleuze's re-writing of subjectivity, demonstrated in the concept of 'the body without organs', then a transcendent configuration of the colonial subject is revealed. In elucidating this claim, this thesis turns to the fiction of South African academic and novelist, J.M. Coetzee. It is argued that Coetzee writes the Other by 'staging it', that is by testing the limits and eventually going beyond the authoritarian regime of representation. Thus, this thesis is constructed by three main chapters that offer both a rethinking of postcolonial theory in light of the work of Deleuze, and a reading of a selected cynosure of texts authored by Coetzee. The first chapter is a reading of Coetzee's Dusklands that concentrates on the body as a site of resistance to the manoeuvres of representation, demonstrating it to be a site that takes authority in the production of truth from the 'objective', structured methodology of reason, while the second chapter offers a reading of Coetzee's Waiting for the Barbarians that interrogates the postcolonial concern with 'space'. It is in this novel that Coetzee renders space in terms of its dynamic relationship with the nomad, which ultimately problematises the colonial endeavour to organise, represent, and thereby, 'know' the world. The final chapter engages Coetzee's Foe by way of a sustained critique of the operation of language, and demonstrates how Coetzee manages to test the boundaries of representation through language use. As such, each chapter offers a specific account of an entire programme that tends towards the transgression of the binds organised by the operation of representation.

The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a ‘line of flight or deterritorialization’ that enables the thesis to ‘change in nature and connect with other multiplicities.’This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries. A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols’ theories of documentary representation of reality, Bordwell’s schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries. The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as ‘a rhizome with the world’, is analyzed across a range of examples.

本論文是處理德勒茲的差異哲學,由討論柏拉圖以原本-拷貝的對立模式而 來進行對擬像的排除開始,哲學就將差異對立於同一,因此使得哲學的活動 變成只是去發現那既有的思想影像.而德勒茲提出的差異哲學並非是對立 於柏拉圖主義的另個排除異己的哲學,而是只有柏拉圖的哲學把擬像視為 是必須排除的,因而對立於差異哲學.而差異哲學所主張的正是其獨特的先 驗主義,它認為哲學從事思考的活動乃是獨特的與異質性的相遇,而非是對 相同的認定.最後,本論文則由批判哲學的立場說明德勒茲的差異哲學的特 殊處,乃在於他對批判哲學的旨趣.但在不落入傳統批判哲學的困境中,德 勒茲以肯定哲學的這種特殊立場為批判哲學重新命名,而使得差異哲學不 只是負重式的肯定,而是提出問題的藉由肯定差異去提出批判. / Deleuze's genealogical reading of Plato's original-copy model provides usto understand the philosophy of difference.It also reissues what's philos-ophy's future and what does doing philosophy means.From Deleuze's viewonly transendental empiricism can let us immue from the image of represen-tation. Futher﹀his paper try to︷larify what interest Deleuze's to propsephilosophy of︸ifference is his concern about critical philosophy. Not trapin traditional understanding of critical philosophy,Deleuze develops his understanding of critical hilosophy not negative but affirmative.