La philosophie a tendance à ne pas concevoir le désir comme une notion historiquement connotée, mais plutôt comme un concept immuable. Le présent travail, au contraire, se propose de fournir des éléments pour l’élaboration philosophique d’une histoire du désir contemporain, s’articulant à travers des dispositifs et des discontinuités, des tendances et des moments de rupture. Notre objectif n’est pas de rédiger l’Histoire du désir et ses récentes transformations. En revanche, on se propose d’un côté de fournir des éléments pour pouvoir penser, philosophiquement, l’existence d’une histoire du désir, pour la fonder théoriquement ; de l’autre, de mettre en évidence, sans aucune prétention d’exhaustivité, certains des caractères définissant le désir de nos jours, certaines parmi les mutations qui, en premier lieu, nous ont suggéré l’existence d’une telle histoire encore toute à explorer. L’élaboration d’une telle histoire a été effectuée à partir d’une convergence entre la pensée de Deleuze, Foucault et Lyotard autour des notions principales structurant les présent travail : le désir, l’histoire, la notion de dispositif et celle de discontinuité. Néanmoins, nous avons croisé la pensée de ces auteurs avec d’autres, dans la tentative de souligner une convergence générationnelle. Dans l’histoire du désir contemporain on a reconnu un privilège à l’écran – à comprendre en tant que dispositif, au sens foucaldien du terme – à partir duquel on élaborera des tentatives de périodisation et on identifiera des discontinuités. Faire une histoire du désir contemporain signifie pour nous se demander comment l’on désire selon les écrans. / Philosophy tends to consider desire not as a historical notion, but rather as an immutable concept. Our work, however, aims to provide some elements for a philosophical elaboration of a history of contemporary desire, alternating dispositifs and discontinuity, tendencies and moments of rupture. Our purpose is absolutely not to define The History of desire and of its recent transformations. On the contrary, on one side we try to provide some theoretical elements in order to start thinking, philosophically, to a historicity of desire. On the other, without any claim of completeness, we try to identify some features defining the status of contemporary desire, by analysing some among the many mutations of desire which characterise our times and inspired this research in the first place. The elaboration of such a history mainly results from a convergence among the thoughts of Deleuze, Foucault and Lyotard, around the fundamental notions structuring this work, such as desire, history, dispositif, discontinuity. Nevertheless, we will often compare the thoughts of those authors with others, in order to highlight a sort of generational convergence. In the history of contemporary desire, we acknowledged a privilege to the screen – that has to be understood as a dispositif, in the large sense that Foucault gave at this notion. Thanks to its privilege, the screen will be the starting point for a periodisation of the history of contemporary desire and the identification of its discontinuities. How do we desire according to screens?

This essay explores the concept of style in Gilles Deleuze’s Proust and Signs. While the concept of style in Deleuze’s thinking in general indeed has been the subject of some examination, his specific understanding of style in Proust and Signs has, until now, not been properly investigated. The book was first published in 1964, with a second part and a conclusion added in 1970 and 1976 respectively, which explored new themes in Proust’s novel. Here, the concept of style is approached through two main questions: How is the concept of style constituted in the two parts constituting Proust and Signs? What is its significance with regard to the theme of individuation central to Deleuze’s reading of Proust? The first chapter examines Deleuze’s concept of style in relation to Proust’s own thoughts about style. The second and the third chapter analyze and compare the relationship between style and the essence in the two parts of Proust and Signs respectively. Despite some differences in how the concept of style is presented in 1964, when the Search is seen from the viewpoint of the subject (or the apprentice), and in 1970, when it is seen from the viewpoint of the artwork, the essay argues that there is a kind of continuity in the concept of style, which is above all a matter of individuation. Through the subject’s divergent repetition of the essence’ singular and individuating difference, and through the artwork’s production of haecceities, the concept of style renders the subject of thought as something that is never pre-given, but created in, through and with the artwork.

The “Postscript on Control Societies” is considered one of the most accessible texts by Gilles Deleuze, contemporary, yet untimely, ahead of its time, perhaps even ahead of our time. In just a few pages, Deleuze here touches on the specifics of discipline and control and subjects them to three perspectives: history, logic, program. On closer reading, however, one comes across some stumbling blocks, where thinking falters. The paragraph in which the word ‘dividual’ appears for the first time in the text is such an instance. Of course, the individuals of control become dividuals, and the masses become banks. But what does ‘code’ mean here, and what is the difference between the ‘precept’ of disciplinary society and the ‘password’ of control society? As is so often the case, the key lies in questions of context and translation.

[pt] Esta dissertação propõe uma análise do conceito de infamiliar (unheimlich) com o objetivo de encontrar suas condições de possibilidade em determinados tipos de discursos, nos quais esse sentimento ao mesmo tempo produz e é produzido por uma forma de tempo própria. Diz-se infamiliar aquele sentimento que emerge tanto no cotidiano como no contato com certas obras de ficção, como nota Freud em seu ensaio de mesmo nome (das Unheimliche), deslanchado por uma pequena distorção ou variação do familiar (isto é, daquilo que já é conhecido). O infamiliar diverge profundamente do familiar, ainda que mantendo com este último uma semelhança superficial, de aparência. Esta é sua principal característica, a saber, seu caráter de simulacro, de falsa cópia do familiar. Interessamo-nos, portanto, por entender melhor o tipo de discurso que se estrutura com base em um ou mais simulacros, notadamente o discurso sofista. O infamiliar também se caracteriza, na ficção, por vir frequentemente acompanhado de contradições cronológicas e por sugerir, portanto, uma distorção no tempo e no espaço das histórias. Veremos, enfim, como o discurso que opera por simulacros constrói uma forma do tempo específica e própria. Nosso objetivo é borrar os limites do que denominamos infamiliar, mostrando que ele nasce de particularidades da própria linguagem que estão presentes em todo tipo de discurso, que ele não nos é tão estrangeiro assim e nem tão particular a um grupo específico de gêneros literários. / [en] This dissertation proposes an analysis of the concept of uncanny (from the German unheimlich; or infamiliar, the negation of familiarity) with a focus on finding its conditions of possibility in certain types of discourses in which this feeling both produces and is produced by a distinct form of time. The infamiliar is said to be a feeling which emerges both in daily life and in contact with certain works of fiction (as Freud notes in his essay of the same name, das Unheimliche), produced by a small distortion or variation of the familiar (that is, of that which is already known). It differs profoundly from the familiar all the while maintaining with the latter a superficial resemblance, that is, a similarity in appearance. This is its main characteristic, namely, being a simulacrum, or false copy, of the familiar. What follows is a deeper analysis of the types of discourse that are structured around simulacra, notably the sophist discourse. The uncanny is also characterized, in fiction, by often accompanying chronological contradictions which suggest a distortion of space and time in such stories. Therefore, we will also see how the type of discourse that operates through simulacra constructs a distinct form of time. Our goal is to blur the limits of the uncanny, showing that it is a product of certain particularities of language that are present in all types of discourses and so that it is neither very foreign to us nor restricted to a specific group of literary genres.

[pt] Diante das incertezas decorrentes do declínio da ordem liberal pós-Guerra Fria, a disciplina de Relações Internacionais busca rearticular as subjetividades em meio a uma ordem global em transformação. A interconexão entre a vida subjetiva pessoal e a vida subjetiva social torna-se evidente ao considerarmos como os afetos influenciam as decisões políticas, moldam a percepção da verdade e contribuem para a construção da realidade. Ao explorarmos as relações internacionais à luz da interseção da evolução da psiquiatria, podemos observar como o evento da loucura não se reduz a um acontecimento isolado em um indivíduo. Gilles Deleuze e Félix Guattari, na obra O Anti-Édipo, propõem que, sob cada sociedade, existe um vasto fluxo de natureza libidinal-inconsciente que constitui o delírio da sociedade como um todo. Eles concebem o delírio como a matriz geral de todo investimento social inconsciente, sugerindo uma relação intrínseca entre loucura e pensamento. Influenciado por esse sistema de pensamento, propomos, nesta tese, uma alternativa à concepção ortodoxa da identidade reduzida a um Eu no campo das relações internacionais. Aquilo que denominamos como uma ontologia essencialista (essence), substituindo-a por uma ontologia imanente deleuziana, entendida como uma ontologia do sentido (sens). A loucura é aqui concebida não como uma condição individual, mas como uma metodologia, uma teorização pós-humana que enfatiza os processos de devir e diferenciação, considerando todos os corpos, humanos e não humanos, em um jogo constante, fluido e relacional. Dessa forma, tomando o delírio como método, procuramos questionar a natureza das relações internacionais, oferecendo uma crítica aos pressupostos ontológicos do conceito de internacional que estabelece uma ontologia estatista vinculada ao axioma de Westfália. Propomos a necessidade de confrontar estruturas baseadas em identidades, revelando como o pensamento ocidental moderno moldou modos de pensamento e categorias nas RI. Sugerimos uma reestruturação da identidade e da diferença por meio de uma ontologia do desejo e das linhas imanentes, fundamentais para uma teoria generalizada dos fluxos nas RI, inspirada na filosofia da diferença de Deleuze e Guattari. Por fim, a importância de tal movimento seria dada pela exploração da chamada virada afetiva nas humanidades e ciências sociais, introduzindo a cartografia esquizoanalítica como método de pesquisa. Esta abordagem oferece uma crítica especulativa à ontologia ortodoxa das Relações Internacionais e propõe uma reestruturação ontológica baseada em Deleuze e Guattari, buscando, assim, uma compreensão relacional dos agenciamentos internacionais. / [en] Given the uncertainties arising from the decline of the post-Cold War liberal order, the discipline of International Relations seeks to rearticulate subjectivities amid a changing global order. The interconnection between personal subjective life and social subjective life becomes evident when we consider how affects influence political decisions, shape the perception of truth, and contribute to the construction of reality. By exploring international relations through the intersection of the evolution of psychiatry, we can see how the event of madness is not reduced to an isolated event in a single individual. Gilles Deleuze and Félix Guattari, in The Anti-Oedipus, propose that underneath every society there is a vast flow of libidinal-unconscious matter that constitutes the delirium of society. They understand delirium as the general matrix of all unconscious social investment, suggesting an intrinsic relationship between madness and thought. Influenced by this system of thought, we propose in this thesis an alternative to the orthodox conception of identity reduced to an I in the field of international relations. What we call an essentialist ontology (essence), replacing it with a Deleuzian immanent ontology, understood as an ontology of meaning (sens). Madness is conceived here not as an individual condition, but as a methodology, a post-human theorization that emphasizes the processes of becoming and differentiation, considering all bodies, human and non-human, in a constant, fluid, and relational process. In this way, taking delirium as a method, we seek to question the nature of international relations, offering a critique of the ontological presuppositions of the concept of international, which establishes a statist ontology linked to the axiom of Westphalia. We propose the need to confront identity-based structures, revealing how modern Western thought has shaped modes of thought and categories in IR. We suggest a restructuring of identity and difference through an ontology of desire and immanent lines, fundamental to a generalized theory of flows in IR, inspired by Deleuze and Guattari s philosophy of difference. Finally, the importance of this movement would be given by the exploration of the so-called affective turn in the humanities and social sciences, introducing schizoanalytic cartography as a research method. This approach offers a speculative critique of the orthodox ontology of International Relations and proposes an ontological restructuring based on Deleuze and Guattari, seeking a more relational understanding of international assemblages.

[pt] O trabalho discorre acerca de algumas relações entre a música e a teoria, partindo da ideia de Indeterminação Musical proposta pelo artista norte-americano John Cage e suas consequências para a música, a linguagem, a ontologia e o pensamento de modo geral. O primeiro capítulo aborda o tema aproximando-se do conceito de indeterminação, das práticas musicais experimentais e das experiências verbais de notação musical, isto é, de partituras formadas apenas por palavras. No segundo capítulo, investiga-se a existência de certa zona de indiscernibilidade entre os escritos de Gilles Deleuze e Félix Guattari e a música, procurando elementos de um possível pensamento-música, isto é, um modo de orientação do pensamento e de concepção ontológica nos quais a música e o som não estão submetidos a critérios filosóficos pressupostos, mas funcionam eles mesmos como material fundamental para a construção de uma filosofia. / [en] This work discusses some relationships between music and theory, starting from the idea of Musical Indeterminacy proposed by the North American artist John Cage and its consequences for music, language, ontology and thought. The first chapter approaches the subject through the concept of indetermination itself, experimental musical practices and verbal experiences of musical notation, that is, of scores formed only by words. The second chapter discusses the existence of a certain zone of indiscernibility between the writings of Gilles Deleuze and Felix Guattari and the music, looking for elements of a possible music-thinking, that is, a mode of thinking and an ontological conception in which music and sound are not subject to presupposed philosophical criteria, but function themselves as fundamental material for the construction of a philosophy

Made available in DSpace on 2016-04-25T20:21:41Z (GMT). No. of bitstreams: 1 Edivaldo Vieira da Silva.pdf: 1691193 bytes, checksum: 1fab88e361680db71f4625b400d2c8f5 (MD5) Previous issue date: 2006-09-18 / In the flux of events that have revolved certainties and truth regimes in the last decades, the thesis The Body in the Transversal of Time: from disciplinary society to society of control or the analytics of a body that falls projects itself in the plane of consistency of the contemporary society to analyze the recent technological innovations, which converge to the development of a new scientific paradigm. This paradigm is based on the strategy of making a force field as Converging Technologies or synergistic convergence NBIC (Nanotechnology, Biogenetics, Information Technology and Cognitive Science) of knowledges that are unified for a common target, i.e., the elementary structures of matter (the atom, the genes, molecules and cells). Technologies are analytically conceived based on Gilles Deleuze and Michel Foucault s arguments that consider machinic arrangements subject to the capitalist mega-machine or technologies of power and bodies seizure or what remains from them and subjectivities. In the plane of consistency of contemporary society, which presents it self as society of control, this investigation attempts to cartograph, at the same time, places of counter-positions and resistances / No fluxo de acontecimentos que revolveram as certezas e regimes de verdade nas últimas décadas, a tese O Corpo na Transversal do Tempo: da sociedade disciplinar a sociedade de controle ou Da analítica de um corpo que cai se projeta no plano de consistência da sociedade contemporânea para analisar as recentes inovações tecnológicas, que confluem para a organização de um novo paradigma científico, baseado na estratégia de se fazer campo de força como Tecnologias Convergentes ou convergência sinergística NBIC (Nanotecnologia, Biogenética, Tecnologia da Informação e Ciência Cognitiva), dos saberes que se unificam a partir de um alvo comum, as estruturas elementares da matéria (o átomo, os genes, moléculas e células). As tecnologias são apresadas analiticamente a partir das considerações de Gilles Deleuze e Michel Foucault, que as consideram agenciamentos maquínicos sujeitados a megamáquina capitalística ou tecnologias de poder e seqüestro de corpos ou do que resta deles e subjetividades. No plano de consistência da sociedade contemporânea, que se apresenta como sociedade de controle, intenta-se cartografar, ao mesmo tempo, os lugares de contraposicionamentos e resistências

Made available in DSpace on 2016-04-26T14:56:03Z (GMT). No. of bitstreams: 1 Edivaldo Vieira da Silva.pdf: 1691193 bytes, checksum: 1fab88e361680db71f4625b400d2c8f5 (MD5) Previous issue date: 2006-09-18 / In the flux of events that have revolved certainties and truth regimes in the last decades, the thesis The Body in the Transversal of Time: from disciplinary society to society of control or the analytics of a body that falls projects itself in the plane of consistency of the contemporary society to analyze the recent technological innovations, which converge to the development of a new scientific paradigm. This paradigm is based on the strategy of making a force field as Converging Technologies or synergistic convergence NBIC (Nanotechnology, Biogenetics, Information Technology and Cognitive Science) of knowledges that are unified for a common target, i.e., the elementary structures of matter (the atom, the genes, molecules and cells). Technologies are analytically conceived based on Gilles Deleuze and Michel Foucault s arguments that consider machinic arrangements subject to the capitalist mega-machine or technologies of power and bodies seizure or what remains from them and subjectivities. In the plane of consistency of contemporary society, which presents it self as society of control, this investigation attempts to cartograph, at the same time, places of counter-positions and resistances / No fluxo de acontecimentos que revolveram as certezas e regimes de verdade nas últimas décadas, a tese O Corpo na Transversal do Tempo: da sociedade disciplinar a sociedade de controle ou Da analítica de um corpo que cai se projeta no plano de consistência da sociedade contemporânea para analisar as recentes inovações tecnológicas, que confluem para a organização de um novo paradigma científico, baseado na estratégia de se fazer campo de força como Tecnologias Convergentes ou convergência sinergística NBIC (Nanotecnologia, Biogenética, Tecnologia da Informação e Ciência Cognitiva), dos saberes que se unificam a partir de um alvo comum, as estruturas elementares da matéria (o átomo, os genes, moléculas e células). As tecnologias são apresadas analiticamente a partir das considerações de Gilles Deleuze e Michel Foucault, que as consideram agenciamentos maquínicos sujeitados a megamáquina capitalística ou tecnologias de poder e seqüestro de corpos ou do que resta deles e subjetividades. No plano de consistência da sociedade contemporânea, que se apresenta como sociedade de controle, intenta-se cartografar, ao mesmo tempo, os lugares de contraposicionamentos e resistências

The aim of this thesis is to read Bruno Schulz’s The Cinnamon Shops through the theoretical framework of Deleuze and Guattari, focusing on the relation between territorialization, deterritorialization and reterritorialization. This is investigated through examples from the The Cinnamon Shops, focusing on different aspects of how territorialization is portrayed in Bruno Schulz’s corpus. The goal is to show how the stories of Bruno Schulz are structured around various forms of territorializations, be it the home, the family shop or the town in itself. However, those territories are almost always negated through deterritorializing acts. In this act we get to face something new, something temporary and fragile, which in itself creates the essential crack or leakage in the text. Those acts of deterritorialization can’t be allowed to continue undisturbed but must be shut down through various forms of reterritorialization. This form of reading is only possible when the text is seen as a rhizomatic structure, with no clear center or periphery. It is brought forward how each of those texts are segmented in various manners, either binary or linear, which affects how the territorializing acts can be perceived.

Le phénomène de la création dans le cadre d’un discours sur la création – la production littéraire et artistique – ne va pas de soi. La tâche de le circonscrire comme un objet est antinomique : l’expérience du discours est en soi une création. Alors que le langage écrit semble au plus souvent «supprimer» l’auteur, le processus de création implique un «Je» créateur qui pense, qui se transforme, qui vit et dont la pensée s’imbrique à son objet qui, quant à lui, est «supprimé»; car il n’est pas extérieur à la pensée mais en relation avec elle. Ce travail, qui démontre le rapport complexe entre l’objet, la critique, le sujet et le commentaire, se penche donc sur l’«avant», le «pendant» et l’«après» de la création, dans un acte de mémoire, qui découle d’une performance littéraire sur la création. Des forces motrices informes et inconscientes, à la mise en forme jusqu’à la transmission, qui lui redonne un caractère d’informe, la création est en mouvement, comme le savoir est toujours prisonnier d’un «work in progress». Tributaire d’Antonin Artaud, le texte s’inscrit à partir de l’artiste en guise d’archétype existentiel, et s’y réfère constamment pour témoigner de la création sans la détacher de la vie et de ses expériences. Pour accéder au mystère du processus de création, lié à la pensée subjective, inobjectivable et irréductible au discours linéaire, ce travail met l’accent sur les associations de la pensée qui procède, exprimées par un «Je» exemplaire omniprésent, tatoué par l’expérience, mais à la position ambiguë à titre d’auteur. Processus de vie, de pensée et de création sont non seulement entremêlés, mais traversés par le champ du tout autre, historique, mondial et social, en perpétuelle évolution. Le rôle du créateur n’est pas de ne créer qu’à partir des connaissances extérieures à lui, mais à partir de lui-même – de son moi multiple et de sa pensée imprégnée de lectures et de ce qui le traverse et l’habite dans un temps donné – pour aboutir à la mise en forme d’un texte cohérent, d’une gravure particulière de l’esprit en marche vers le savoir, qui se situe toujours dans le devenir. / The creation phenomenon within a discourse on creation – the literary and artistic production – is not self-evident. The task to define it as an object is antinomic; the experience of discourse is in itself creative. While written language seems often to “suppress” the author, the creation process actually implies a creative “self” who thinks, lives and transforms itself, and whose thoughts are overlapping into its object, which is thus “suppressed” because it is not outside of thought, but bound to it. This work, showing the complex relationship between object, criticism, subject and comment, is focussed on the “before”, “during” and “after” portions of the creative process, in an act of memory that stems from a literary performance about creation. From the shapeless and unconscious forces at its origin, to the its shaping, and then transmission, which gives it back its shapeless form feature, creation is in motion as knowledge is always captive of the work in progress. Tributary of Antonin Artaud, the text acts as an existentialist archetype of the artist and refers to him constantly to show creation without separating it from life and its experiences. To access the mystery of the creative process, linked to subjective, non-objectivable tought irreducible to linear discourse, this work focuses on the associations within the mind that proceeds, expressed through an ever present and exemplary “self”, tainted by experience, but in the ambiguous position of author. The processes of life, thought and creation are not only intertwined but infused by the “outside”, which is historical, global, social and in perpetual evolution. The creator's function is not to create based solely on his external knowledge, but from within himself – from his multiple selves and his mind filled by what he reads, what goes through his mind and inhabits him at a given time – to eventually shape a coherent text, a specific engraving of the soul as it marches towards the knowledge always hiding in the becoming.