Made available in DSpace on 2016-04-25T20:21:00Z (GMT). No. of bitstreams: 1 Lindines Gomes de Barros.pdf: 1639739 bytes, checksum: abb8e1a179cc0baeb81d0e0a8e966ae8 (MD5) Previous issue date: 2013-06-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis provides a reading through the fields of social sciences, of the philosophical concepts that compose the subject erotic and orgiastic in the thought and the narrative work - out with the paradigm of civilization of Georges Bataille: eroticism, ecstasy, inner experience, excess, transgression, and solar anus. This thinker, whose works deal with an erotic intention stigmatized as both pornographic and disconcerting because it subverts the concepts of reality and normality, constituted our main theoretical and literary "corpus". Bataille proposes a decomposition of the paradigm of civilizing rationality thanks to the idiosyncratic and obscure rhythms that form his erotic subject, with impure and imperfect subjectivities. In this discussion, we address his vision that consists in eroticism recognized as an inner experience, not subdued to regulation or discipline. This type of experience causes a kind of not-knowing, which reproduces the configuration of wild singularities proposed by Foucault and related to what cannot be assimilated by institutions and cultures. The characters in his literary narrative allow us to observe and define the erotic subject at the intersection between ecstasy and inner experience. They are convulsive bodies emerging from vertigo. Impregnated with this problem, they bring Eros sovereignty with elements of tragic eroticism and of horror that plunge the subject into the unknowable and the rationalizing inapprehensible. What we question in his mind is the challenge of thinking the abject and the excremental, that escape deterministic reasoning and release the vision of contemplative ecstasy by dispelling the significant determinants and the pedagogization that intertwine the social fabric.. The thesis will present his position deliberately at the fringe, which aimed to upset the established order in theology and science. It will reveal the orgiastic itinerary created by Bataille and characterized by economy of outlay, excess, anguish, ecstasy, eroticism, inner experience and concerns. Such a philosophical intent proposes a thought of waste, consumption and reasoning that release from the human condition / Esta tese estabelece uma leitura, no campo das ciências sociais, dos conceitos filosóficos: erotismo, êxtase, experiência interior, excesso, transgressão e ânus solar, que compõem o orgiástico sujeito erótico no pensamento e na narrativa romanescas do pensador Georges Bataille, que rompe com o paradigma civilizatório. O autor constitui nosso principal corpus teórico e literário, cujas obras, estão envolvidas numa concepção erótica estigmatizada como pornográfica e desconcertante, por subverter os conceitos de normalidade e realidade. Ele propõe uma decomposição do paradigma da racionalidade civilizatória, aos ritmos idiossincráticos e obscuros que compõem o sujeito erótico batailliano, com subjetividades impuras e imperfeitas . Nessa discussão conferimos o seu olhar constituinte de uma eroticidade, reconhecida enquanto experiência interior, não submetida à normatização e ao disciplinamento. Tal natureza de experiência, provoca uma espécie de não-saber, refletindo a configuração das singularidades selvagens, propostas em Foucault, relacionadas com aquilo ainda inassimilável pelas instituições e pelas culturas. Em sua narrativa literária, os personagens nos permitem observar e margear o sujeito erótico constituído no cruzamento entre o êxtase com a experiência interior. São corpos convulsivos que emergem da vertigem. Impregnados nessa problematicidade, trazem a soberania de Eros com elementos de um erotismo trágico e de horror, que mergulham o sujeito batailliano no incognoscível e no desentendimento racionalizante. O que interrogamos em seu pensamento é o desafio de pensar o que é abjeto e excremental, que escapa da razão determinista e liberta a visão da estaticidade contemplativa, dissipando significados determinantes e a pedagogização dos sentidos que entretece os tecidos sociais. A tese apresentará a sua posição nas margens, de modo a provocar desacomodações teológicas e cientifizantes. Revelará o itinerário orgiástico concebido por Bataille, tomado pela economia do dispêndio, excesso, angústias, êxtases, erotismos, experiência interior e inquietações. Tal concepção filosófica propõe um pensar do desperdício, da consumação e do raciocínio obsessivo que instaura uma libertação da condição humana

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / O ponto de partida da nossa pesquisa à a produÃÃo de representaÃÃes sobre o corpo feminino identificada nas mÃsicas e produtos culturais do grupo de pagode baiano à o Tchan. Diante das imagens construÃdas sobre o corpo, alguns problemas vÃm à tona: como as representaÃÃes do corpo feminino assumem tamanha importÃncia no pagode baiano produzido nesse perÃodo? Qual a importÃncia que as imagens, em especial do corpo feminino, mas nÃo somente, assumem na produÃÃo artÃstica do à o Tchan? Por que o papel erÃtico à exercido principalmente pelas danÃarinas? Por que nos anos 1990 essas cenas foram tÃo comuns? O objetivo deste trabalho consiste em identificar as construÃÃes das representaÃÃes do corpo na mÃsica, analisando o caso do pagode baiano nos anos 1990. Partimos da hipÃtese de que, no recorte proposto, houve uma expansÃo da cultura de massa no Brasil e esta potencializou o uso dos corpos de forma erÃtica pela mÃsica, tendo no grupo musical à o Tchan sua maior expressÃo. Para atingir nosso objetivo e responder a tais questÃes, dividimos nosso trabalho em trÃs partes. Na primeira, propomos um debate sobre as possÃveis relaÃÃes entre corpo, mÃsica e histÃria no Brasil. Em seguida, dedicamo-nos a pensar o corpo enquanto uma marca musical e a mÃsica como uma marca corporal, destacando o papel do erotismo e da mÃdia nesse processo. Por fim, focamos no caso do grupo à o Tchan como exemplo dessas prÃticas, entendidas como potÃncias pedagÃgicas, numa proposta de anÃlise da pedagogia cultural. Utilizamos como fontes de pesquisa as mÃsicas do grupo, programas de TV, jornais e revistas peÃas publicitÃrias, dentre outras produÃÃes do grupo e sobre o grupo, especialmente as que foram produzidas no perÃodo de maior sucesso alcanÃado pelo à o Tchan â entre os anos 1997 e 2000. / The starting point of our research is the production of representations on the female body identified in the songs and cultural products by à o Tchan, a pagode band from Bahia. By confronting the images which were built about the body, some issues emerged: how do these representations of the female body obtain such importance inside pagode expressions produced in Bahia in this particular period? What is the importance that such images obtain, particularly those picturing the female body but not only, in the artistic production of à o Tchan? Why is the erotic role played mainly by women? Why were these scenes so usual in the 1990âs? The purpose of this work is to identify the process of making representations of the body in the music through analyzing the particular case of 1990âs pagode from Bahia. The premise is that in this specific case there was an expansion of the mass culture in Brazil. Such expansion reinforced the use of bodies erotically in music, and à o Tchan is its greatest expression. In order to achieve our goal and answer such questions, our work was divided in three parts. In the first one, we propose a debate about the potential links among body, music and history in Brazil. In the next session, we devote our effort to think of the body as a musical brand and the music as a bodily brand, highlighting the role of erotism and the media in this process. In the last part, we focus on à o Tchan case as an example of such practices, which are seen as potentially pedagogic in a analysis of cultural pedagogy. Our main sources are the songs played by the band, TV shows, newspapers and magazines, advertisement and other productions by the group and about the group, specially those released between 1997 and 2000 which were à o Tchanâs most successful years.

Made available in DSpace on 2016-03-15T19:46:48Z (GMT). No. of bitstreams: 1 Renata Augusto de Carvalho.pdf: 501143 bytes, checksum: 6e8212a25aa370dd92385159e66098dc (MD5) Previous issue date: 2009-02-12 / Fundo Mackenzie de Pesquisa / This work studies the intertextuality in some short stories by Márcia Denser, establishing the meaning of eroticism as analytical perspective. We analyze the short stories Animal dos motéis , Hell s angels , and Tigresa , from the book Diana caçadora, and Um pingo de sensibilidade and O homem de Cascavel , published in Tango fantasma. These narratives have women as main characters that are shown as adventuress of the big city, who insist in appease their solitude and loneliness pretending they are modern, mature and decided women. Through intertextual references, we examine the development of the cultural and symbolic universe of the characters, who demonstrate personalities with exaggerated intellectualism and popular culture. First, the female characters are shown as decided, full of initiative and independent women; but when they deal with affective or sexual relationships we can see the submission behind that apparent modernity. They are incapable to face the masculine universe. The eroticism is expressed inside the narratives and it is marked by the characters historic perspective that is presented by how a plurality of intertextual references is used. / Este trabalho estuda a intertextualidade presente nos contos de Márcia Denser, buscando estabelecer como perspectiva analítica os sentidos do erotismo. Os contos analisados são O animal dos motéis , Hell s angels , Tigresa , da obra Diana caçadora, e Um pingo de sensibilidade e O homem de Cascavel , publicados no livro Tango fantasma. Nesses contos pode-se observar que as personagens femininas são as protagonistas dos relatos. Elas surgem como aventureiras da cidade grande e insistem em aplacar sua solidão e suas carências disfarçando-se de mulheres modernas, maduras e resolvidas. Por meio das referências intertextuais, verifica-se a construção do universo cultural e simbólico dessas personagens que revelam uma face marcada ora pelo exacerbado intelectualismo, ora pela cultura popular. As personagens, num primeiro momento, mostram-se decididas, cheias de iniciativa e independentes, porém, quando submergem em relacionamentos afetivos ou sexuais, surge por trás da aparente modernidade a face da submissão; elas se mostram incapazes de afrontar o universo masculino. O erotismo se expressa no interior das narrativas e é marcado pela perspectiva histórica das personagens, explicitada pela maneira de articulação de uma pluralidade de referências intertextuais.

Made available in DSpace on 2016-04-26T14:54:18Z (GMT). No. of bitstreams: 1 Lindines Gomes de Barros.pdf: 1639739 bytes, checksum: abb8e1a179cc0baeb81d0e0a8e966ae8 (MD5) Previous issue date: 2013-06-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis provides a reading through the fields of social sciences, of the philosophical concepts that compose the subject erotic and orgiastic in the thought and the narrative work - out with the paradigm of civilization of Georges Bataille: eroticism, ecstasy, inner experience, excess, transgression, and solar anus. This thinker, whose works deal with an erotic intention stigmatized as both pornographic and disconcerting because it subverts the concepts of reality and normality, constituted our main theoretical and literary "corpus". Bataille proposes a decomposition of the paradigm of civilizing rationality thanks to the idiosyncratic and obscure rhythms that form his erotic subject, with impure and imperfect subjectivities. In this discussion, we address his vision that consists in eroticism recognized as an inner experience, not subdued to regulation or discipline. This type of experience causes a kind of not-knowing, which reproduces the configuration of wild singularities proposed by Foucault and related to what cannot be assimilated by institutions and cultures. The characters in his literary narrative allow us to observe and define the erotic subject at the intersection between ecstasy and inner experience. They are convulsive bodies emerging from vertigo. Impregnated with this problem, they bring Eros sovereignty with elements of tragic eroticism and of horror that plunge the subject into the unknowable and the rationalizing inapprehensible. What we question in his mind is the challenge of thinking the abject and the excremental, that escape deterministic reasoning and release the vision of contemplative ecstasy by dispelling the significant determinants and the pedagogization that intertwine the social fabric.. The thesis will present his position deliberately at the fringe, which aimed to upset the established order in theology and science. It will reveal the orgiastic itinerary created by Bataille and characterized by economy of outlay, excess, anguish, ecstasy, eroticism, inner experience and concerns. Such a philosophical intent proposes a thought of waste, consumption and reasoning that release from the human condition / Esta tese estabelece uma leitura, no campo das ciências sociais, dos conceitos filosóficos: erotismo, êxtase, experiência interior, excesso, transgressão e ânus solar, que compõem o orgiástico sujeito erótico no pensamento e na narrativa romanescas do pensador Georges Bataille, que rompe com o paradigma civilizatório. O autor constitui nosso principal corpus teórico e literário, cujas obras, estão envolvidas numa concepção erótica estigmatizada como pornográfica e desconcertante, por subverter os conceitos de normalidade e realidade. Ele propõe uma decomposição do paradigma da racionalidade civilizatória, aos ritmos idiossincráticos e obscuros que compõem o sujeito erótico batailliano, com subjetividades impuras e imperfeitas . Nessa discussão conferimos o seu olhar constituinte de uma eroticidade, reconhecida enquanto experiência interior, não submetida à normatização e ao disciplinamento. Tal natureza de experiência, provoca uma espécie de não-saber, refletindo a configuração das singularidades selvagens, propostas em Foucault, relacionadas com aquilo ainda inassimilável pelas instituições e pelas culturas. Em sua narrativa literária, os personagens nos permitem observar e margear o sujeito erótico constituído no cruzamento entre o êxtase com a experiência interior. São corpos convulsivos que emergem da vertigem. Impregnados nessa problematicidade, trazem a soberania de Eros com elementos de um erotismo trágico e de horror, que mergulham o sujeito batailliano no incognoscível e no desentendimento racionalizante. O que interrogamos em seu pensamento é o desafio de pensar o que é abjeto e excremental, que escapa da razão determinista e liberta a visão da estaticidade contemplativa, dissipando significados determinantes e a pedagogização dos sentidos que entretece os tecidos sociais. A tese apresentará a sua posição nas margens, de modo a provocar desacomodações teológicas e cientifizantes. Revelará o itinerário orgiástico concebido por Bataille, tomado pela economia do dispêndio, excesso, angústias, êxtases, erotismos, experiência interior e inquietações. Tal concepção filosófica propõe um pensar do desperdício, da consumação e do raciocínio obsessivo que instaura uma libertação da condição humana

Le conte n’est pas abordé ici dans sa qualité bien reconnue de genre fixe, de forme « simple » et « naïve » à destination des enfants. Situé en France, entre l’après-guerre et aujourd’hui, le corpus sollicité comprend des adaptations affichées (de La Belle et la Bête de Cocteau en 1946 au Barbe-Bleue de Catherine Breillat en 2009) et des emprunts disséminés et masqués que retravaillent certaines œuvres de Buñuel, Claude Chabrol, Louis Malle, Claude Miller, Claire Denis, Laurent Achard et Marina de Van. Ni anthropologique, ni structuraliste, ni narratologique, ni psychanalytique, mais combinant ces approches, notre thèse a pour visée de déplacer des lignes épistémologiques et méthodologiques, les grilles herméneutiques traditionnelles s’avérant insuffisantes à rendre compte des processus à l’œuvre lorsque le médium cinématographique réécrit selon ses propres dispositifs et avec ses effets spécifiques les contes anciens. Ce renversement se traduit par des poétiques du trouble, de l’opacité, la tentation d’orientations stylistiques naturalistes et de déplacements génériques vers le thriller voire les formes de l’horreur. Non seulement on peut en dégager les affinités profondes entre des cinéastes français éloignés dans le temps, mais on propose de repérer l’expérience du corps éprouvé comme un motif central, de nature érotique, où se redéfinit, dans certains fragments voire certains photogrammes, le travail de l’image cinématographique. C’est dans une visée exploratoire, qui privilégie les démarches analytiques que notre thèse met au jour, sous les emprunts aux contes de l’enfance (Charles Perrault, les frères Grimm, Hans Christian Andersen), une filiation sadienne et bataillienne du cinéma français d’auteur. / Fairytales are not seen here as a fixed genre, a "simple" and "naïve" construct aimed at a child audience. Our body of reference works, originating in France and dating from the post-war years up to this day, includes traditional film adaptations (from Cocteau’s Beauty and the Beast in 1946 to Catherine Breillat’s Bluebeard in 2009) as well as obscure representations reworked in films by Buñuel, Claude Chabrol, Louis Malle, Claude Miller, Claire Denis, Laurent Achard and Marina de Van. Using an approach neither anthropological, structural, narratological or psychoanalytic, but one that combines all of these, our thesis aims to shift epistemological and methodological lines, the traditional hermeneutic matrices proving inadequate to reflect the processes occurring as the film medium, using specific means and effects, rewrites classical fairytales. This inversion is translated by emotional upheaval and blurring, a desire for naturalistic orientations and changing of genre towards the thriller or even forms of horror. Not only do the deep affinities between older generation French filmmakers emerge, but one identifies the use of the body as a central motive, erotic in nature, where shaping the film image is redefined in certain sequences and frames. Using an exploratory approach favouring analytic processes, our thesis illustrates the sadean and bataillean filiation between childhood fairytales (Charles Perrault, The Brothers Grimm, Hans Christian Andersen) and French arthouse cinema.

<p>The aim of the thesis is to identify and investigate central themes in two video artworks, Poliisi and Pink Ball, by Swedish artist Annika Larsson. Moreover it is an investigation of the configurations of violence, and an enquiring whether these works have a social-minded intention.</p><p>Elements in scenery, framing and narration are analysed with the term “crystalline regime” (régim cristallin), described by French philosopher Gilles Deleuze, which defines the artificial as opposed to the purely representational. Processes within the narrations of the two works are analysed as rituals, which leads to an investigation of an internal sign-system and to the question whether the rituals in these works have a function. Theory by French philosopher Georges Bataille is used to analyse the ritual with no external purpose, which aims at an intense experience of life. Bataille’s concept “intensity” is used to describe violent as much as erotic themes in the narration as well as in the way the characters are presented, regarding music, camera-angles, etc. Furthermore, the thesis refutes interpretations in which Annika Larssons works are viewed as comments on political matters, such as gender-issues.</p>

The aim of the thesis is to identify and investigate central themes in two video artworks, Poliisi and Pink Ball, by Swedish artist Annika Larsson. Moreover it is an investigation of the configurations of violence, and an enquiring whether these works have a social-minded intention. Elements in scenery, framing and narration are analysed with the term “crystalline regime” (régim cristallin), described by French philosopher Gilles Deleuze, which defines the artificial as opposed to the purely representational. Processes within the narrations of the two works are analysed as rituals, which leads to an investigation of an internal sign-system and to the question whether the rituals in these works have a function. Theory by French philosopher Georges Bataille is used to analyse the ritual with no external purpose, which aims at an intense experience of life. Bataille’s concept “intensity” is used to describe violent as much as erotic themes in the narration as well as in the way the characters are presented, regarding music, camera-angles, etc. Furthermore, the thesis refutes interpretations in which Annika Larssons works are viewed as comments on political matters, such as gender-issues.

Not available / text

Fault Lines positions a theory of gay male subjectivity as it relates to the Queer skinhead and its dissemination in gay male pornography. In narrating the transformation of the original skinhead as a subcultural youth type to its present re-signification as a fetish and sexual identity within gay male subculture, Fault Lines reveals a tripartite problem of fetishism, sadomasochism and fascism. Through an analysis of Bruce LaBruce's film Skin Gang / Skin Flick (1999) these problems are contextualised within a discourse of gay male pornography, broadening the investigation to consider how problems of masculinity, violence and race manifest within a distinctly gay male sexual imaginary. Examining the representational function of the Queer skinhead, Fault Lines seeks to speculate on how notions of a gay male subject and subjectivity can be established at the intersection of an aesthetic, political and social experience.

Thesis (Ph. D.)--Vanderbilt University, 2006. / Includes bibliographical references (leaves 223-229). Also issued online.