Orientador: Luiz Benedicto Lacerda Orlandi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T17:33:50Z (GMT). No. of bitstreams: 1 Blumer_DiogoGondim_M.pdf: 2205632 bytes, checksum: 6d54fddab57374aa0e30bfa211298c4d (MD5) Previous issue date: 2012 / Resumo: A noção de vida percorre singulares tramas conceituais na filosofia de Deleuze. Seguir a sinuosidade desse percurso tornará possível uma caracterização mais segura do vitalismo desse filósofo. Pensado em função de tensões entre o que ele tematiza como vida orgânica e vida não orgânica, esse vitalismo implica complexas relações entre articulações extensivas e intensivas, vetores que modulam a própria vida em suas oscilações entre uma saúde dominante e uma paradoxal grande saúde / Abstract: The notion of life covers in a unique conceptual scheme in Deleuze philosophy. The sinuosity of this path will enable us to understand better the vitalism of this philosopher. Due to the tensions between the life he thematizes as organic and non-organic life, this vitalism involves complex relationships between extensive and intensive joints, vectors that modulate life itself in its oscillations between a dominant health and a paradoxical great health / Mestrado / Filosofia / Mestre em Filosofia

Orientador: Luiz Benedicto Lacerda Orlandi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T16:37:18Z (GMT). No. of bitstreams: 1 Craia_EladioConstantinoPablo_D.pdf: 782456 bytes, checksum: 873c89f3f04da46b3ac7d5bbd2ed94ef (MD5) Previous issue date: 2003 / Resumo: O presente trabalho tem como objetivo central interrogar o problema do estatuto ontológico da técnica a partir da ontologia de Gilles Deleuze. Em um primeiro momento é elaborada uma cartografia geral da filosofia da técnica, desde a ¿filosofia engenheril¿, passando pela ¿filosofia da técnica das humanidades¿, até o pensamento de Martim Heidegger, indicando suas características e as diferenças entre elas. Seguidamente é caracterizada a ontologia deleuziana segundo os eixos especulativos da univocidade, imanência, expressionismo ontológico e complexo questão-problema. Em um terceiro momento, a ontologia de Deleuze é singularizada entorno do conceito de virtual; assim, esta noção é abordada e pensada dentro da obra de Deleuze visando definir a ontologia deleuziana como especificamente virtual. Finalmente, o horizonte ontológico deleuziano é aplicado como categoria de análise para pensar a técnica de uma perspectiva distinta da apresentada no primeiro momento. Assim, com esta ferramenta conceitual, a própria técnica é caracterizada como virtual e produtiva / Abstract: The present work has as its central objective to question the problem of the Technique ontological statute since the ontology by Gilles Deleuze. Firstly, a general cartography on the Technique Philosophy is performed, beginning with the "engineering Philosophy, moving on to the "humanities' Technique Philosophy", until the thought of Martim Heidegger, indicating the characteristics of each, end the differences between them. Secondly, the deleuzian ontology is characterized according to the univocality, immanence, ontological expressionism, and the question-problem complex speculative axes. Thirdly, the ontology by Deleuze is sigularized around the concept of virtual; thus, such notion is approached and thought within Deleuze's opus aiming at defining the deleuzian ontology as specifically virtual. Finally, the deleuzian ontological horizon is applied as analysis category to think the Technique from a distinct perspective than the one presented in the first moment. So, armed with such conceptual tools, the Technique itself is characterized as virtual and productive / Doutorado / Doutor em Filosofia

Pour nous, hommes du XXIe siècle, il peut être aussi fascinant qu’angoissant de faire le point sur ces prédictions faites par Zarathoustra, il y a plus d’un siècle déjà, à propos du dernier homme dont l’annonce visionnaire de sa naissance imminente s’est originellement déroulée dans le ressentiment et l’incompréhension des hommes. Il semble, aujourd’hui, ardu de nier ces troublantes affinités entre le dernier homme et nous, hommes du XXIe siècle. Devant ce personnage nocif, nihiliste à souhait et de plus en plus dominant sur le plan sociétal vient, pour certains, cet instinctif appétit de « trouver des solutions pour le surmonter ». L’une des complications premières d’une telle entreprise sera la suivante : le dernier homme, en position de domination grâce à sa morale issue de celle l’esclave il y a plus de 2 000 ans, se réjouit de cette absence d’ambition existentielle et conçoit son bonheur autour des puissantes idoles que sont la sécurité et le bien-être. Simplement, le dernier homme veut le dernier homme. Cela n’a cependant pas empêché les différents commentateurs à réfléchir sur des pistes afin de surmonter cet être méprisable qui met en péril l’existence conçue au sens actif du terme. En passant par des penseurs tels que Karl Jaspers, Gilles Deleuze, Benoît Goetz, Francis Fukuyama ou Dorian Astor, personne ne s’est aperçu que se « précipiter sur des solutions » signifiait a priori que nous faisions fausse route quant à notre discernement sur le dernier homme contemporain. Nous démontrerons au fil de cette recherche que le dernier homme, personnage conceptuel, est une figure sociétale en mouvement. Bien qu’il clame (en nihiliste) être « arrivé à destination », il sera établi que le dernier homme n’est jamais et ne saurait être homéostatique. En conséquence, nous établirons que préalablement à toutes propositions visant à surmonter ce complexe personnage est indispensable, non pas une étude des caractéristiques du dernier homme, mais bien une étude généalogique permettant de témoigner des mouvements ayant permis de catapulter le troupeau de la morale de l’esclave toujours plus près du dernier homme contemporain. Ainsi, pour mieux connaître ce dernier homme et diminuer la marge d’erreur quant aux différentes pistes pour le surmonter, nous devons d’abord généalogiquement nous interroger : d’où provient-il, qui est-il, pour ultimement en venir à où tente-t-il de se diriger?

This paper details the production of the short film Beyond Memory from conception through completion. Particular attention is paid to the application of Deleuze’s time-image and film noir as a genre.

Analyse et critique de l¹oeuvre de Bruno Latour à partir d¹une conception de la démocratie écologique basée sur le pluralisme et l¹inclusion de divers types de processus de traduction. Ce travail part du constat que la conception libérale de la démocratie écologique constitue une aporie. L’objectif est de proposer une nouvelle conception qui serait le fruit d¹un processus de déterritorialisation du concept de démocratie écologique du libéralisme et de sa reterritorialisation dans le territoire pluriel de création que constitue l’écologie. A partir d¹une lecture critique et analytique des principaux ouvrages du sociologue des sciences, Bruno Latour, il s¹agit d¹examiner certaines pistes de réflexions qui permettront de jeter les bases d¹un nouveau collectif rassemblant les entités humaines et non humaines à partir d’une conception de la démocratie écologique. Ce travail met aussi l¹accent sur la nécessité de dépasser la conception latourienne du rôle des sciences et du politique dans l’exercice du rassemblement du nouveau collectif dans le but de favoriser une pluralité de porte-parole des agencements entre les entités humaines et non humaines, ainsi que l’inclusion divers types de processus de traduction.

<p><a>While Nietzsche is known as a virulent opponent of conventional morality, the critical dimension of his philosophy cannot be divorced from his novel understandings of nature, society, and the self. This dissertation clarifies Nietzsche’s treatments of these notions by comparing his views to those of other figures in the western philosophical tradition. I defend a comparative approach to Nietzsche’s philosophy and provide an overview of my project in chapter one. In chapter two, I argue that although Nietzsche shares Stoicism’s emphasis on self-discipline and on the affirmation of fate, he rejects the Stoics’ teleological understanding of nature and their view of moral values as descriptively objective. This leads Nietzsche to value passion and suffering for helping us realize the world’s indifference to our all-too human concerns and for prompting value creation. In chapter three, I argue that Nietzsche agrees with Leibniz about the existence and character of unconscious perceptions and appetites – and about the way much of our metaphysics derives from our understanding of the self. Nevertheless, Nietzsche audits metaphysical notions such as God and substance on the basis of his rejection of Leibniz’s view of the self as a monad. This leads him to pursue a naturalistic understanding of consciousness, and of ideas, as emerging to satisfy unconscious drives. In chapter four, I examine Deleuze’s interpretation of Nietzsche’s notions of the will to power and the Overman. In addition to defending the viability of these interpretations, I show how they inform Deleuze’s later notions of desiring-production and nomadology. These studies demonstrate Nietzsche’s untimely relevance to ancient, early modern, and contemporary philosophical approaches.</a></p>

This research looks thoughtfully and deeply at the relationship between art education and signs, as defined by the French philosopher Gilles Deleuze (1964/1998). Signs, as articulated by Deleuze (1964/1998), are violent disruptions to our way of understanding the world, causing us to think again and/or re-consider what we once knew (or thought we knew). This study looks generatively at how these kinds of disruptive and disorienting moments might be mined for possibilities in art education and remind us of our own relationality. As a post-qualitative lived inquiry, it asks how might art education be-with apprenticeship to signs and what might art education do-with sign-encounters? Using the theoretical lens of transcendental empiricism and new materialism, this study considers how art educators might hold open the space of sign-encounters for oneself and one's students by turning towards the rhizomatic cut and staying with uncertainty. It is focused on the doing-with, making-with, and thinking-with of art, pedagogy, and philosophy/theory, investigating their deep entanglements in spaces of disruption and ultimately developing frame-works for engaging in this kind of work in the classroom. Drawing from Erin Manning and Brian Massumi's theory of research-creation, this research was experienced in an emergent, layered, and complex way over the last two years, including the construction of this dissertation presented as an assemblage all of its own.

This project examines some of the most notable fiction of contemporary American writer Paul Auster through the postmodern lens of Gilles Deleuze and Félix Guattari’s rhizome. Auster’s novels often feature characters that are also writers, characters that resurface in subsequent novels, and characters that bear a resemblance to Paul Auster himself. This thesis uses the philosophy of Deleuze and Guattari to better understand the significance of these puzzling characters. Ultimately, the model of the rhizome reveals a particular connectivity between Auster’s works underpinned by multiplicities, refrains, and a dislocation of origins.

Divided into three substantial chapters, this dissertation centres on the interconnections of madness and nonsense. In particular, the introduction analyzes theories on nonsense literature, and the binaric logics that separately structure the discursive fields of these two phenomena. In this section, there is also a deconstruction of the problematics of analyzing nonsense as a literary technique without the influence of mad studies. The first chapter then moves to take on the figure of the Western serial killer, and the hermeneutic projects that the media takes on when reporting on his “senseless” crimes. Arguing that the labelling of the serial killer’s crimes as “nonsensical” demonstrates a particular aesthetic that works to associate madness with danger, disease, fear, and hatred within the public imaginary, this dissertation offers an analysis through a reading of Lynn Crosbie’s Paul’s Case. In the final chapter, this dissertation employs Margaret Atwood’s Surfacing and Emma Donoghue’s The Wonder to consider nonsensical madness within the context of feminine subjectivity. Considering autotheory as a feminist hermeneutic practice then leads into the author’s own experiences as a mad person. This dissertation aims to consider how to engage with nonsensically mad feminine texts, and the ethics of the hermeneutics of mad reading-projects. / Dissertation / Doctor of Philosophy (PhD) / Why do we deem certain groups of people nonsensical? Why is nonsense considered the ‘mother-tongue’ of madness? This dissertation attempts to unfold some of the dimensions of these questions through an historical taxonomy of madness and nonsense as separate yet connected phenomena; an analysis of the media and popular categorization of the Western serial killer; and feminine people deemed ‘mad’ via hysteria. Using their own experiences of madness, the author asks how we can possibly read mad articulations when they are often chalked up to nonsense, as well as the sociopolitical implications of this configuration of nonsense and madness.

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