Encore est le récit d’une jeune femme hantée par un avortement qui lui semble n’avoir jamais eu lieu et pourtant se rappelle sans cesse à elle, comme un mauvais rêve. C’est l’histoire de son désir, écrite contre la domestication de son corps, et par laquelle elle tente de se réapproprier le néant de son ventre et d’y faire apparaître les traces de sa mémoire. Mon essai porte sur Le Bleu du ciel de Georges Bataille, dont j’ai voulu interroger les « monstrueuses anomalies » — expression qu’emploie Bataille lui-même dans la préface de son livre. Comment faire un monstre de récit, comment transgresser la loi d’un genre réputé sans contrainte ? Mon projet aura été de mettre en évidence, plutôt que la monstruosité de l’histoire racontée, le travail, ou la besogne, dans l’écriture de ce récit, de l’informe et de la chance, termes que j’emprunte à Bataille et soumets au jeu de sa fiction. / Encore (Again) tells the story of a young woman haunted by an abortion, which she thinks has never happened to her, and yet keeps hounding her, especially in her dreams. This is the story of her desire, held against the domestication of her body, and through it, she tries to repossess her womb and make the traces of her past appear, beyond the visible. My essay addresses the « freakish anomalies » of Georges Bataille’s Blue of Noon (Le Bleu du ciel), as Bataille himself qualified his novel in his preface. How to transgress a genre that has no law, no constraint ? Rather than analyzing the freakishness of the narrative or the characters, I have tried to understand how writing was here performed, or tasked, by formless and chance, two concepts that I have borrowed from Bataille and confronted to his fiction.

Depuis les années 1990, le flou a envahi les écrans, touchant toutes les productions audiovisuelles, qu’ils s’agissent des films d’auteur, des blockbusters, des séries, ou encore des publicités. S’il est le plus souvent devenu un composant narratif, voire purement « cosmétique », des longs-métrages, certains réalisateurs tentent de se dégager de cet usage normé afin de jouer avec son potentiel menaçant, que nous savons qualifié de symptomal. Le terme de « symptôme », qui se réfère à l’usage qu’en fait Georges Didi-Huberman, renvoie à un contre-régime de l’image qui vient soulever le régime figuratif. En privilégiant une approche esthétique, phénoménologique et sémiologique, notre thèse met au jour la puissance symptomale du flou, à savoir son potentiel figural, haptique ou encore informe. Selon la théorie développée par Georges Didi-Huberman à partir des écrits de Sigmund Freud, le terme de « symptôme »fait également écho au mouvement du temps, c’est-à-dire au travail qu’opèrent les hantises, les survivances au sein des images afin d’ébranler, de faire vaciller le régime figuratif. Le flou-symptôme est donc aussi envisagé à partir de l’angle du temps, d’un temps qui malmène la représentation, la narration. Notre attention se porte sur différents types de flou, qu’il enveloppe totalement ou partiellement l’image(faible profondeur de champ), s’immisce progressivement dans l’image (mouvement de mise au point), ou encore résulte d’un travail sur le montage rapide (flicker) et la matière (définition de l’image, flou atmosphérique). Dans ce travail, nous analysons toutes ces différentes formes de flou afin de révéler que si certains réalisateurs s’emploient à défaire la fiction première, c’est pour mieux esquisser de nouvelles lignes de fuite narratives, des vies nouvelles. / Since the 90s, blur has invaded screens through all audiovisual productions. This phenomenon can be found not only in arthouse movies but also in blockbusters, TV series, or commercials. Its recurrent appearance as a narrative component, or even “cosmetic”, led some directors to grow away from this standardized use and to fully develop its threatening potential, that we call here symptomal. Symptom,according to Georges Didi-Huberman's works, refers to a counter-regime in which the image upraises the figurative regime. By favoring an aesthetic, phenomenological, and semiologistic approach, this thesisreveals the symptomal power of the blur, namely its figural, haptic, and formless potential. According to the theory that Georges Didi-Huberman elaborated from Sigmund Freud's work, the term “symptom”resonates with the flow of time, id est the labor operated by hauntings and survivances within images in order to undermine and shake the figurative regime. Thus the blur-symptom is also envisioned through the scope of time, a time which destabilizes representation and narration. Our focus is on the different types of blur : an image completely or partially blurred (shallow depth of field), blurring through a motion in the focus (focus-through), or through flickers and even a processing of the matter (image definition andatmospheric blur). In this study, we analyze these different forms of blur to reveal that some directors strive to dismantle the original fiction. Doing so, they eventually sketch new narrative lines of flight, newlives.

Submitted by Priscilla Araujo (priscilla@ibict.br) on 2017-08-24T18:02:20Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) [tese] Vinícios Menezes_Rasum tabulae_um limiar metafórico-escritural dos estudos da informação.pdf: 5025181 bytes, checksum: c6d854fe3725c49402db1b3789a7ce83 (MD5) / Made available in DSpace on 2017-08-24T18:02:20Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) [tese] Vinícios Menezes_Rasum tabulae_um limiar metafórico-escritural dos estudos da informação.pdf: 5025181 bytes, checksum: c6d854fe3725c49402db1b3789a7ce83 (MD5) Previous issue date: 2017-06-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / O objetivo da pesquisa partilha da discussão filosófico-gramatical da linguagem para pôr em suspensão a questão da informação. Tomando como pressuposto histórico da Library and Information Science, o fazer linguístico da arte gramatical, em especial, os oriundos das veredas da Filologia e da Retórica, coloca-se em cena a quête (busca) informacional. As questões de pesquisa que atravessam a tese rumo ao sul, isto é, que a “suleiam” são: quando se diz informação, o que se mostra? o que simbolicamente as citações, nos traslados informacionais, mobilizam em seus usos, traduzem em seus jogos, isto é, na perspectiva neobarroca da linguagem, onde não há um fora, sendo toda linguagem, nestes termos, metafórica, qual a metáfora da informação, ou, o que a metáfora informação mostra? Na gramática da informação, o que suas representações inscrevem (fixam na mobilidade) – sua filologia – e escrevem – sua retórica? Projetamos a seguinte hipótese, conservada em potência dos pré-socráticos aos pós-estruturalistas: a metáfora da informação é o livro; sua inscrição: o informe; sua escritura: um palimpsesto emblemático cujo rosto (eidos) rasurado é a própria gramática – o livro informe das estórias da humanidade, grafado no Ocidente greco-latino sob o selo transcendental tà biblía, os livros, no plural, fixados no singular livro. Para tal intento, a quête informacional assinala, à diferença do método, no caminho a aventura da experiência da origem histórica, não o rigor sistemático, mas a intensidade tenaz daquilo que se mostra na travessia. Para a quête informacional utilizamos o exemplo metateórico e alegórico do tabuleiro, que de acordo com a tradição hermenêutica adotada concebe a nossa relação com o mundo como uma pertença textual, onde nossos jogos linguísticos seriam o artefato que fabrica a realidade. Este tabuleiro, procedimento da quête, remete tanto à superfície onde as peças do jogo agem, como à própria tabulae, que propomos ser como um memorialístico palimpsesto composto por emblemas – imagens textuais, onde os jogos teóricos que coordenam este texto se encontram: a) o nachleben warburguiano (livro-emblema, o atlas), b) a apresentação panorâmica wittgensteiniana (livro-álbum) e c) a crítica filológica dos jogos de citação (livro-do-mundo-da-vida, para Benjamin como fortleben – livro da vida –, Derrida como gramma – livro-rastro e Agamben como rasum tabulae – livro-potência). Assim, a quête teria na imagem alegórica (gleichnis) do palimpsesto-emblemático o exemplo da linguagem informacional, seu livro informe. Na travessia da hipotética tese, conceitos clássicos da Library and Information Science, como livro, informação, documento, angelía, são revisitados, numa releitura neobarroca, desviante entre “real” e “fantástico”, onde forma e conteúdo são deslocados pela percussão da linguagem informe. Como síntese inconclusiva, resultados, assinalamos para as possibilidades fornecidas pela leitura através da perspectiva cultural da Library and Information Science, assim como para uma maior premência nos estudos filosóficos e suas experiências conceituais, aguçadoras do “ver os fantasmas” (larvae) que volteiam o lar do campo informacional e seus problemas práticos, ao qual o “inform ,”, traço fantasmático proposto, é um “resultado” desta mirada que visa abrir a porta deste lar para hospitaleiramente na soleira transgramaticalizar os fantasmas hospedando-os na ruína-resto que lhes foi rasurada – sua língua / The purpose of the research shares the philosophical-grammatical discussion of language to suspend the issue of information. Taking as a historical assumption from the Library and Information Science, the linguistic rendering of grammatical art, especially those from the paths of Philology and Rhetoric, the information quête is put on the scene. The questions of research that cross the thesis towards the south, that is to say, that the “to south” are: when it says information, what shows? What symbolically as citations, in the informational transfers, mobilize in their uses, translate in their games, that is, in the neo-baroque perspective of language, where there is no outside, all language being, in these terms, metaphorical, as the metaphor of information, Or, what does the information metaphor show? In the grammar of information, what do his representations inscribe (fix on mobility) - his philology - and write - his rhetoric? We project the following hypothesis, preserved in potency from the pre-Socratic to the post-structuralist: the metaphor of information is the book; your inscription: the formless; his writing: an emblematic palimpsest whose erased face (eidos) is grammar itself - the book of the stories of humanity, written in the greco-latin west under the transcendental seal tà biblía, the books, in the plural, fixed in the singular book. For this quête, this informational point, unlike the method, points to the adventure of the experience of historical origin, not the systematic rigor, but the tenacious intensity of what is shown in the crossing. For this quête informational we use the metatheoretical and allegorical example of the board, which according to the adopted hermeneutic tradition conceives our relationship with the world as a textual belonging, where our linguistic games would be the artifact that manufactures reality. This board, quête procedure, refers both to the surface where the pieces of the game act, and to the tabulae itself, which we propose to be as a memorialistic palimpsest composed of emblems - textual images, where the theoretical games that coordinate this text are: a) The bourgeois nachleben (the emblematic book, the atlas), b) the Wittgensteinian panoramic presentation (book-album), and c) the philological critique of the citation games (Benjamin as fortleben-book of the life -, Derrida as gramma - book-trace - and Agamben as rasum tabulae - power book). Thus, the quête would have in the allegorical image (gleichnis) of the palimpsest-emblematic the example of the informational language, its book formless. In the hypothetical thesis, classic concepts of Library and Information Science, such as book, information, document, angelía, are revisited in a neobaroque rereading between “real” and “fantastic”, where form and content are displaced by the percussion of language formless. As inconclusive synthesis, results, we point to the possibilities provided by reading through the cultural perspective of Library and Information Science, as well as to a greater urgency in philosophical studies and their conceptual experiences, sharpeners of the “seeing the ghosts” (larvae) that turn the of the information field and its practical problems, to which the “inform ,” proposed phantasmatic trait, is a “result” of this gaze that aims to open the door of this home to hospitaleamente in the threshold transgrammaticalize the ghosts by hosting them in the ruin-rest that was shaved - their tongue

No \"campo ampliado\" da cultura contemporânea, arte e arquitetura partilham cada vez mais questões comuns. Assim, seja em relações de colaboração, ou seja em relações de afrontamento, a arquitetura e a arte hoje dissolvem suas antigas fronteiras disciplinares para compor um poderoso complexo social e midiático, cujo sentido é fundamental para a compreensão do mundo contemporâneo. Sem isolar a problemática brasileira em relação ao conjunto da produção mundial, esse trabalho se propõe o desafio de pensar o eclipsamento da tectônica, da materialidade e da noção de trabalho em um mundo globalizado e dominado por produções imateriais de valor, como o capital financeiro. Evitando estabelecer um juízo definitivo sobre essa questão, procura-se entender como as produções de alguns arquitetos e artistas contemporâneos lidam com a realidade de um mundo cada vez mais impalpável e convertido em imagem, isto é, consumido permanentemente. A hipótese assumida aqui é a de que, na impossibilidade de se restaurar a resistência do mundo e da matéria - que pudesse recolocar em causa a \"estética da formatividade\" moderna -, alguns dos melhores artistas e arquitetos contemporâneos traduzem o dilema atual na forma de uma perda de foco da imagem ou do objeto, que se traduz também em uma voluntária busca pela ausência de forma. Desse modo, a poética do informe e a nuvem são, a meu ver, expressões potentes da crise contemporânea. / In the \"expanded field\" of contemporary culture, arts and architecture increasingly share common issues. Hence, whether in relations of collaboration or confrontation, arts and architecture dissolve their old disciplinary boundaries to form a powerful social and media framework, which meaning is essential for the understanding of the contemporary world. Encompassing the Brazilian problematic in relation to the body of international production, this research attempts to undertake the challenge of reflecting about the hiding tectonic, materiality and perception of work in a globalized world dominated by the immaterial production of value, such as the financial capital. Although this research precludes a definitive judgment about this issue, it attempts to understand how the outputs of some contemporary architects and artists deal with the reality of a world that is ever more intangible and converted in images, and in other words, permanently consumed. The hypothesis posed here is that, in the impossibility of restoring the resistance of the world and matter - which would put back in discussion the modern \"formativeness of aesthetics\" -, some of the most prestigious contemporary artists and architects translate the current dilemma in the loss of focus in images or objects, which also translates itself in a voluntary search for the absence of form. Hence, the poetics of formless and clouds are, from my point of view, powerful expressions of the contemporary crises.

No description available.

Dans cette thèse, nous investiguons ce que l’on peut entendre, dans le champ de la psychologie clinique d’inspiration psychanalytique, par le terme d’atmosphère, et de ceux d’ambiance ou de climat qui lui sont proches. Cette recherche a été rendue nécessaire afin de parvenir à mieux penser ce que recouvre le phénomène d’atmosphère en séance, notamment lorsque l’on prend en soin des sujets réputés psychotiques ou en situation traumatique. En effet, pour ces patients, c’est souvent à travers une sensation de changement catastrophique d’atmosphère que s’inscrivent en eux les effets des épisodes psychotiques et traumatiques. Au-delà de l’apparence d’un effet pathogène des atmosphères au cours de la rencontre clinique avec ces sujets, nous avons pu observer et analyser que l’atmosphère de la séance pouvait constituer pour les patients une forme représentative de leur vécu de changement subjectif catastrophique. L’atmosphère apparaît alors comme un médium permettant que se reflètent et se répètent les éprouvés traumatiques qui restent en souffrance d’intégration et de symbolisation. Mais la représentation de l’atmosphère n’est pas qu’une formation statique et elle sera également investiguée dans ses fonctions dynamiques, transférentielles et interactionnelles. Par les mouvements des atmosphères, se révèlera une dynamique d’échanges et de contacts relationnels propres aux dimensions originaire et archaïque du psychisme. L’atmosphère implique dans son essence l’effet de présence d’un autre sujet qui ravive d’anciennes traces laissées par les conditions particulières de rencontre avec notre environnement précoce. Dans un cadre thérapeutique, l’atmosphère apparaîtra comme une force d’implication esthésique et affective des différents sujets en présence, qui nous amènera ainsi à ne pas seulement la percevoir comme un cadre-écran statique, mais comme un agent de transformation des expériences traumatiques. En favorisant l’accordage des sujets dans une même tonalité affective et esthesique, elle permettra également que les premières formes du sentiment d’être-avec-l’autre, proches des éprouvés d’être-informe, et que nous qualifions d’identité sensorielle atmosphérique, puissent être modelées et transformées plus harmonieusement. / In this thesis, we investigate how the terms “Atmosphere”, but also “Ambience” and “Climate”, which are related, can be understood in the field of psychoanalysis-inspired clinical psychology. This research was crucial in understanding how the effects of atmosphere apply during a session, especially while treating patients suffering from psychotic disorders, or in a traumatic state. Indeed, for these patients, the effects of psychotic or traumatic episodes often manifest through a feeling of catastrophic change in the atmosphere.Beyond studying the pathogenic effect of atmospheres during the clinical encounter with these subjects, we observed and analyzed that the session atmosphere could represent, for patients, a form of their subjective catastrophic change experience. Thus, atmosphere appears to be a medium allowing the reflection and repetition of traumatic feelings that have yet to be integrated and symbolized.But atmosphere representation is not only a static formation, and we will also study its dynamic, transferential and interactional functions.The variation of atmospheres will show a dynamic of dialogue and exchange, specific to the primal and archaic dimensions of psyche. In its essence, atmosphere involves the effect of another subject’s presence, that rekindles old feelings left by the particular conditions in which we met our early environment. In a therapeutic framework, atmosphere will appear to motivate the different subjects’ involvement on an esthesis and affective level. Thus, we will see that atmosphere is not only a static frame-screen, but that it also serves as a transformative agent of traumatic experiences. By helping subjects align on the same esthesis and affective tonalities, atmosphere will allow the first forms of the be-with-the-other feeling, close to the being-formless feelings, and that we call atmospheric sensory identity, to be more harmoniously shaped and transformed.