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Entre Deleuze, Guattari e o currículo: uma cartografia conceitual (2000-2015) / Between Deleuze, Guattari and curriculum: a conceptual cartography (2000-2015)Lou Guimarães Leão Caffagni 24 October 2017 (has links)
Nesta tese, apresenta-se uma cartografia de conceitos, tomados de Deleuze e Guattari ou criados a partir da influência da filosofia da diferença, utilizados em ensaios, artigos e entrevistas publicados entre 2000 e 2015, para discutir o problema do currículo. Investigar-seão todos os textos publicados, nesse período, em vinte revistas acadêmicas da área da Educação, classificadas nos estratos A1 e A2 do sistema Qualis, que citam ou fazem referência a Gilles Deleuze e/ou Félix Guattari ao menos uma vez. A análise acompanha as diversas linhas de pesquisa que compõem o campo de pesquisa da filosofia da diferença no currículo. Para tanto, foi necessário abordar aspectos de diversas outras áreas relacionadas, tanto à filosofia quanto ao currículo, como a filosofia da educação, a teoria do ensino, a linguagem, a escrita acadêmica, as ciências e as artes. Por conseguinte, a investigação orientase segundo o problema do modo de produção e conexão dos conceitos apresentados com o objetivo de responder aos seguintes questionamentos: como se utilizaram os conceitos deleuze-guattarianos no campo curricular? Quais foram os conceitos inventados a partir desse encontro entre a filosofia da diferença e a educação? De que modo esses conceitos se propõem a modificar a forma de pensar, de pesquisar e de escrever na pesquisa sobre currículo? Quais são os efeitos da crítica à representação e ao sujeito no modus operandi da pesquisa? E, por fim, quais são os limites dessa crítica deleuze-guattariana ao currículo? A metodologia adotada, a cartografia conceitual, estuda as linhas de composição de um determinado campo discursivo, afetivo, social ou político. Neste estudo, a análise orienta-se pelos princípios de conexão, heterogeneidade, de singularidade e pelo caráter experimental, buscando-se expor como os diferentes conceitos e linhas de pesquisa intervêm em um conjunto de campos de problematização. A cartografia tem início com a apresentação dos principais aspectos da filosofia de Deleuze e Guattari, em especial as noções de conceito e de filosofia que condicionam a análise, segue com a exposição dos resultados quantitativos da pesquisa e com a introdução dos elementos mais importantes da crítica ao currículo influenciada pela filosofia da diferença; em seguida, mapeia-se a produção conceitual nas 9 pesquisas que relacionam currículo, cultura, território, imagem e filosofia da diferença; no quinto capítulo são apresenta das duas discussões em torno da escrita: a primeira diz respeito aos excessos da escrita acadêmica influenciada por Deleuze e Guattari e a segunda se refere ao debate em torno da literalidade e do aprendizado. Pondera-se, finalmente, que, apesar das inúmeras contribuições ao campo, a pesquisa sobre currículo e filosofia da multiplicidade possui alguns pontos frágeis, destacando-se a oposição binária que estrutura o pensamento a partir das dimensão opostas: o controle, a modernidade e a ciência, de um lado, e o rizoma, a liberdade, p pós-modernidade e a criação, do outro. Tal contraposição levará alguns autores a proporem uma educação sem prescrições, baseada na inovação e na diferença. Argumenta-se que a negação de um dos polos do acontecimento educacional não resolve bem o problema das disciplinas e do conhecimento. / In this thesis we present a cartography of concepts, taken from Deleuze and Guattari, or created through the influence of difference, used in essays, papers and interviews published between 2000 and 2015 in 20 of the most important academic journals of the country. All the published material in Qualis A1 and A2 journals, in the area of education, that reference Gilles Deleuze and Felix Guattari at least once are to be investigated. The analysis goes through various research lines which composes philosophy of difference in the curriculum field. For that matter it was necessary to discuss aspects of different fields, as much as in philosophy as in the curriculum, such as philosophy of education, pedagogical theory, language, academic writing, science and arts. So, the investigation is conducted by the problem of production and connection of concepts presented with the aim of answering to the following questions: how are Deleuze and Guattari concepts utilized in curriculum theory? Which are the concepts created from the encounter between philosophy of difference and education? In which sense does those concepts change the ways of thinking, research and writing about curriculum? Which are the effects of Deleuze and Guattari criticism to representation and to the self in research? The methodology utilized are the conceptual cartography. This experimental methodology was conducted by the following principles: connection, heterogeneousness and singularity. The thesis begins presenting the main aspects of Deleuze and Guattari work, specially their understanding of concept and philosophy, which guides this analysis; afterwards, quantitative data and results are presented; subsequently conceptual work in researches that relate curriculum, culture, territory, image and philosophy of difference are mapped; also mapped are two discussions around writing, the first of it is about excesses in academic writing and the second is about literality and learning. Finally, we evaluate that, despite numerous contributions to curriculum field, the research influenced by Deleuze and Guattari has some shortcomings: the bipolarity between modernity, control , science and, on the other side, rhizome, freedom and creation. Such confrontation leads some authors to propose an education without prescription, based exclusively on the principles of innovation and differentiation. The thesis suggest that this proposition doesn\'t answer appropriately the problem of discipline and knowledge.
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Teoria dos signos no pensamento de Gilles Deleuze / Theory of signs at the thought of Gilles DeleuzeNascimento, Roberto Duarte Santana, 1980- 19 August 2018 (has links)
Orientador: Luiz Benedicto Lacerda Orlandi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T16:26:55Z (GMT). No. of bitstreams: 1
Nascimento_RobertoDuarteSantana_D.pdf: 1381311 bytes, checksum: 205a9c0aba147eb9daf666f0c3bf0f8c (MD5)
Previous issue date: 2012 / Resumo: O conceito de signo em Deleuze aparece ao longo de toda a sua obra, ligando-se em cada um de seus livros e artigos ao desenvolvimento de diferentes problemas em pauta. Tais variações por que passa este conceito não comprometem sua consistência no pensamento deleuziano; ao contrário, elas afirmam a complexidade de uma teoria dos signos que insiste virtualmente em seus livros e artigos. Pode-se dizer mesmo que as diferentes problemáticas às quais se dedica Deleuze se enriquecem quando apreendidas tendo em consideração a experiência do signo. Nesta teoria, o signo é afecto, ou seja, é um sentir diferentemente nos encontros, e corresponde à variação de nossa potência de existir. Isto ocorre porque o signo envolve uma diferença de nível constitutiva, uma heterogeneidade irredutível aos dispositivos que seguram a diferença pela analogia no juízo, pela semelhança no objeto, pela identidade no conceito e pela oposição no predicado. Um dos aspectos mais inovadores desta teoria é que, nela, o signo deixa de ser definido pelo imperialismo do significante. Este passa a caracterizar apenas um dos regimes de signos, que não é nem o mais aberto nem o mais importante. Além disso, nesta teoria o pensamento deixa de ser um ato de boa vontade de uma consciência soberana, como ocorre nas imagens tradicionais do pensamento, pois, para Deleuze, pensar implica um pathos, ou seja, é uma atividade disparada involuntariamente pela força de um signo, pela violência de tal encontro / Abstract: The concept of sign in Deleuze appears in all of his works, being linked in every one of his books and articles to the development of different problems. Such variations undergone by this concept do not compromise its consistency in the Deleuzian thought: on the contrary, they affirm the complexity of a theory of signs that virtually persists throughout his books and articles. It could even be said that the different problems to which Deleuze dedicates himself enrich when understood with regards to the experience of the sign. In this theory, signs are affects, i.e. are a variation of feelings in encounters, and correspond to a variation of our power of existence. This occurs as the sign involves a constitutive difference of level, a heterogeneity which cannot be reduced to the devices that secure the difference through the analogy in judgment, through the resemblance in the object, through the identity in the concept and through the opposition in the predicate. One of the most innovative aspects of this theory is that the sign is no longer defined by the imperialism of the signifier, which now characterizes only one of the regimes of signs (neither the most open, nor the most important). More than that, in this theory, thinking is no longer the act of will of a sovereign consciousness, as it was the case in the traditional image of thought, for, according to Deleuze, thinking implies a pathos, i.e., is the unvoluntary activity triggered by the force of a sign, by the violence of such an encounter / Doutorado / Filosofia / Doutor em Filosofia
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Deleuze, Femininity and the Specter of Poststructural Politics: Variations on the Materiality of RhetoricMay, Matthew S. 12 1900 (has links)
In this thesis I rethink the materiality of rhetoric in a minor key. I review poststructural and psychoanalytic endeavors to position rhetoric from within the postmodern and poststructural critique of the subject. I move beyond the logic of influence (dependent on a flawed conception of object) and hermeneutics (the correspondingly flawed methodology). In this endeavor, I primarily enlist Deleuze and Guattari (1987) for a conceptual apparatus that enlivens the "thinness" of rhetoric's (neo)Aristotelian conceptual design (cf. Gaonkar, 1997a, 1997b). I offer Monster (2003) as a case study, analyzing the discursive expression of nondiscursive abstract machines to draw out the reterritorializations of the latter. Recognizing the impossibility of complete reterritorialization I map one artifact that reinvests difference in itself, Dancer in the Dark (2000). Finally, in the epilogue I provide a brief recapitulation of minor politics, and offer a summarization of the utility of rhetoric.
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Le mot-valise chez Gilles Deleuze : pour une intelligibilité de la notion d'oxymore dans le cadre des sciences des religions et du travail théologiqueDalcourt, Isabelle 25 February 2021 (has links)
Le présent mémoire se propose d'étudier les conditions d'intelligibilité de l'oxymore dans le cadre des sciences des religions et du travail théologique. Dans la première moitié du mémoire, nous observons d'abord l'oxymore dans les formalismes sémiotiques (où il est appelé "terme complexe/neutre"). L'aporie rencontrée tient à la difficulté d'inscrire formellement sa genèse. Nous inspirant des thèses récentes des mathématiciens René Thom et Jean Petitot-Cocorda, ce problème sur la genèse est reconduit à la difficulté de penser positivement la discontinuité, mais surtout de la mathématiser. La seconde moitié du mémoire se tourne vers Gilles Deleuze qui a élaboré une métaphysique qui conçoit positivement la discontinuité (ou genèse). Deux conceptions "génétiques" de l'oxymore sont alors dégagées de la métaphysique deleuzienne : l'oxymore comme "coupure" et l'oxymore comme "mot-valise". Nous interrogeons enfin le statut épistémique de ces dernières en demandant si l'espace métaphysique dont elles procèdent pourrait être fondé transcendantalement, i.-e. recevoir une constitution mathématique explicite, notamment par la Théorie des catastrophes de René Thom.
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Choreographing thought : movement as an image of thought, seen through the Deleuzian pure optical and sound imageCantinho, Beatriz January 2013 (has links)
To assume that dance as an art form is about creating and displaying sequences of movement in space is to undermine choreography’s potential as a way of thinking through movement. The interdisciplinary relations between philosophy and dance explored in this research introduce a framework for exploring new possibilities of thinking through choreographic practice. How can dance be perceived as thought, considered as an experimental process, where the articulation between practice and theory becomes fundamental? The cinematic reversal of the subordination of time to movement proposed by French philosopher Gilles Deleuze in his time-image concept offers a paradigmatic shift which has the potential to find profound resonance in the perception of movement in dance. This research explores how this shift informs a new perspective on choreography by discussing the implications of approaching choreographic composition through the lenses of Deleuze’s Pure Optical and Sound Image. As part of the practical choreographic investigation undertaken in this research, I have sought to challenge the conditions of the act of ‘seeing’ dance and to create an ‘opening condition’ for the use of choreography. To maintain an ‘open condition’ within the the practice of choreography, it is necessary to acknowledge the constant becoming of its materials that depend on non-hierarchical relations and on duration itself. My approach is improvisational and my compositional strategies, which are manifestly dependent on interdisciplinary collaborative processes, emphasise ways of thinking through both movement and the image.
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Deleuze and film musicRedner, Gregg January 2008 (has links)
This thesis grows from the premise that film music analysis is currently at an impasse. The reason for this impasse is the inability of film theory and music theory to relate to one another because of their lack of a common theoretical language. It is my contention that a large percentage of the scholarly writing on film music is less than successful, because of the inability of these two disciplines to relate to each other theoretically. Therefore, it is the intention of this thesis to construct a methodological bridge which will allow music theory and film theory to relate to each other on a common analytical plane. I am primarily concerned with just how the film score functions once it enters into the mise-en-scène and is able to exist on an equal theoretical plane with the other elements of the filmic universe. In order to facilitate this, I will apply philosophical concepts drawn from the philosophy of Gilles Deleuze to the analysis of six individual film/score(s): L’Atalante (Jean Vigo, 1934), Things to Come (William Cameron Menzies, 1936), Scott of the Antarctic (Charles Frend, 1948), East of Eden (Elia Kazan, 1955), Hamlet (Grigori Kozintsev, 1964) and Blue (Krzysztof Kieslowski, 1993). Each of these scores provides a specific theoretical challenge which can not be overcome through the use of traditional analytical methodologies. By adapting specific Deleuzian philosophical concepts (sensation, nomadology, the refrain, the eternal refrain, becoming, utopia, smooth space, and duration) to the individual scores in question I will demonstrate that it is possible to create a flexible analytical methodology which draws the various elements of the film into a deep relationship with the score, thereby revealing the score’s actual function in each instance.
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La répétition dans Unforgiven : le destin cristallin de William Munny. Temps, éthique et cinémaParent, Steve January 2007 (has links)
Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Hacer de una imagen pensamiento : líneas, fuerzas, color : un encuentro entre Paul Klee y Gilles DeleuzeMartínez V., Sergio January 2018 (has links)
Doctorado en filosofía con mención en estética y teoría del arte / En la primera parte de nuestra investigación intentamos atender un esbozo pedagógico kleeneano de un curso de la Bauhaus, este era el llamado por Klee: Los tres casos (die Drei Fälle). Si recordamos que el movimiento que cohesionaba el dominio de una superficie y el dominio de una línea era el expresado por un punto-movimiento y una línea-movimiento, también lo que él describía nos llevaba a atender que en aquella cohesión se distinguían aquellos dominios en tanto en el dominio de una línea activa se expresaba una superficie pasiva y en el dominio de una superficie activa una línea pasiva al mismo tiempo que el movimiento era descrito por aquel punto-movimiento y aquella línea-movimiento. Dicho de otro modo, en el dominio de la línea activa se presentaba el movimiento como un puntomovimiento y en el de la superficie activa como una línea-movimiento, y, en este sentido, como decía Boehm, teníamos que concebir que la energía original del punto permanecía virulenta (virulent) en tanto en cuanto los cohesionaba transformándose en el recorrido que expresaba aquel boceto. Para Klee, en cuanto considerábamos que aquel boceto era una presentación de la cohesión entre aquellos dominios, también se expresaban dos acontecimientos en Los tres casos: los de cortar y caer, que exponían, en la medida en que aquel boceto expresaba un movimiento, el ser de sensación que presentaba el dominio de lo abstracto. Por un lado, también hemos buscado considerar para el paso hacia aquel dominio la estructura que concibe Klee bajo una concepción constructiva y compositiva que diferencia un movimiento que en tanto implica una intuición (Intuition) desborda lo constructivo de la estructura. / Abril 2023
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Strates, plan, rhizome. John Cage et la philosophie de Gilles Deleuze et Félix Guattari / Strata, plane, rhizome. John Cage and the philosophy of Gilles Deleuze and Félix GuattariWaterhouse, Brent Alton 19 September 2012 (has links)
Une recension exhaustive des références à la musique et au sonore montre l’importance de cet art dans la production philosophique de Gilles Deleuze et Félix Guattari. La présente recherche se concentre sur la position occupée par la pensée musicale de John Cage dans certains de ces textes. La période créative de Cage située entre 1939 et 1952, se focalise sur deux aspects principaux : la structure micro-macrocosmique caractéristique de ces premiers travaux, et les quatre éléments qui synthétisent alors pour Cage la composition musicale. Ces derniers sont considérés en rapport avec la théorie de la double articulation que Deleuze et Guattari reprennent de Hjelmslev ; les deux aspects renvoient au système des strates et de la stratification exposé dans Mille plateaux. La musique des décennies centrales de la production cagienne, à la lumière du passage de Mille plateaux où l’œuvre de Cage est mise en rapport avec le concept de « plan fixe sonore ». Une attention particulière est donnée à la manière dont Cage conçoit le rapport entre la durée et les matériaux sonores, et au degré variable de présence du hasard et de l’indétermination. Les compositions de cette période sont en outre vues en référence au concept deleuzo-guattarien de cartographie. Les derniers quinze ans de la production de Cage sont analysés à travers le concept de rhizome entendu comme théorie des multiplicités. La partition de Sylvano Bussotti qui figure au début de Mille plateaux ainsi que les travaux textuels et musicaux de Cage, les procédures compositionnelles des mésostiches, des parenthèses de temps qui créent une structure variable, et l’harmonie anarchique du dernier Cage sont également explicités. / On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.
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experimentalism and body:on deleuze's empiricism and subjectivityShen, Mei-chun 01 September 2011 (has links)
Compared to past interpretations of empiricism and criticism, Deleuze's study of Hume in 1953, trying to develop a kind of experimental methods open to experiences. Through the reading of this book, we try to make contact between the body and the social,and the connection marked out his philosophy of ethical implications.Besides, the body-social issues also pointed out that the insufficiency of Hume¡¦s philosophy for deleuze and his further philosophical apprenticeship path.Then we will discuss how Deleuze read hume,and Hume's own style of expression, how it showed a kind of multiplicity and its constitution.
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